Category: Announcement

The Crow Museum of Asian Art Comes to The University of Texas at Dallas

Caparisoned Horse
China, Tang dynasty (618-907), 8th century
Earthenware and three-color (sancai) glaze
27¼ × 27½ in. (69.2 × 69.9 cm)
Crow Museum of Asian Art, 1986.16

Dear EODIAH Friends,

Greetings from The Crow Museum of Asian Art at The University of Texas at Dallas!

Since 2002, I have had the honor of serving as Executive Director of the Crow Museum of Asian Art, shepherding the deep legacy established by Trammell and Margaret Crow and championed by Board President Trammell S. Crow to make Asian arts and culture accessible to Dallas citizens.

Over the course of two decades, we have created our own unique path of presenting thought-provoking exhibitions and programs while simultaneously incorporating community engagement and educational outreach into the core of our mission. We serve as international dignitaries, scholars and lecturers, exercising the vast expertise and experience of our museum staff by organizing symposia, procuring coveted art loans and exchanges from esteemed institutions around the world, and prevailing at the forefront of innovative museum education and K-12 curricula through the lens of the artworks.

Since the public announcement of the donation of the collection and $23M in support funding from the Crow family, the public response has been prodigious. This integration into The University of Texas System will ensure perpetual care and preservation of the permanent collection and allow the Museum to continue operating on 2010 Flora Street as a vital part of the Arts District. When the second location will be built on the UT Dallas campus, our geographic reach and relevance will extend far into the North Texas region as a two-location museum.

Never could we have imagined a brighter future for our renowned museum, the Asian art museum of Dallas, and I hold so much joy and excitement to continue our extraordinary goals with The Edith O’Donnell Institute of Art History as our partners. I look forward to exploring the next twenty years of visionary planning with you, and am grateful to have you by our side during this historic moment.

With all my best,

Amy Lewis Hofland

Director

 

A Note About the Collection

Beginning in 1998 with a selection of just over six hundred works, the Crow Museum of Asian Art’s permanent collection has since expanded to include over a thousand works in a variety of medias. These works showcase the artistic achievements of more than six thousand years of arts and cultures from across Asia, including Cambodia, China, India, Indonesia, Japan, Korea, Myanmar, Nepal, Thailand, Tibet and Vietnam, from ancient periods to works of our time.

We look forward to our future interactions with the Edith O’Donnell Institute of Art History!

Sincerely,

Jacqueline Chao, Ph.D.

Senior Curator of Asian Art

Jade Mountain
China, Qing dynasty (1644-1911), 18th century
Nephrite, carved wood base
14 × 17 × 4.5 in. (35.6 × 43.2 × 11.4 cm)
Crow Museum of Asian Art, 1960.36

 

More News on the Crow Museum of Asian Art at UT Dallas

The Trammell and Margaret Crow Collection of Asian art, together with $23 Million in Support Funding, is donated to The University of Texas at Dallas
January 24, 2019, The University of Texas at Dallas

 

 

 

Call for applications

Apply for an Edith O’Donnell Graduate Fellowship

Now accepting Edith O’Donnell Graduate Fellowship applications for the 2019-2020 academic year. Please view the application instructions here. Applications are due by Monday, March 25, 2019.

 

Apply for a Center for the Art and Architectural History of Port Cities Research Residency

The Advisory Committee of the Center for the Art and Architectural History of Port Cities is now accepting applications for 2019-2020 Research Residencies for PhD students of any nationality in the earlier stages of their dissertations. Applicants must submit a CV, letter of intent, and proposal that outlines the research project and the resources that will be used in Naples. In addition, applicants must invite three recommenders to send letters of support. All materials, including letters of recommendation, are due by Friday, February 15, 2019. Application details can be found here.

Farewell to Bill Jordan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Prado Museum Publication

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

O’Donnell Institute Launches New Master’s Program in Art History in Fall 2018

Honoré Daumier, Outside the Print–Seller’s Shop, 1860-1863, oil on panel, Dallas Museum of Art, Foundation for the Arts Collection, Mrs. John B. O’Hara Fund

In Fall 2018 the O’Donnell Institute will launch a new Master’s Program in Art History.

The MA program at the O’Donnell Institute introduces students to a global history of art through close engagement with artworks held in collections throughout Dallas and Fort Worth.

Students explore a broad range of material across geography, chronology, and medium, building a strong foundation in historiography, theory, and professional practices. In their coursework and independent research projects, students draw on privileged access to public and private collections, outstanding research resources, and the innovative and interdisciplinary research initiatives of O’Donnell Institute scholars. As a capstone to their studies, students design and carry out an original research project such as a scholarly essay, a small exhibition, a collaboration with a practicing artist, or an archival project.

Students pursue their coursework and independent research in close collaboration with mentors at the O’Donnell Institute and its partner institutions, and have the opportunity to participate fully in the intellectual life of a center for advanced research.

The intensive sixteen-month program is designed as a rigorous, immersive experience, preparing graduates for top doctoral programs or arts careers.

The program will welcome its first class in Fall 2018.

Applications are due January 15, 2018. 

To learn more visit www.utdallas.edu/arthistory/graduate or write to MAinfo@utdallas.edu.

German-American Provenance Research Exchange Program (PREP) for Museum Professionals

German-American Provenance Research Exchange Program (PREP) for Museum Professionals, 2017–2019

The German-American exchange program PREP was established by the Stiftung Preußischer Kulturbesitz and the Smithsonian Institution to foster the formation of networks between provenance researchers in both countries. 

PREP stands for German-American Provenance Research Exchange Program for Museum Professionals. The program is geared towards museum professionals from Germany and the United States involved in provenance research, particularly as it applies to Holocaust-era art looting during WWII-era. The primary goal is the establishment of a professional network. Thematically, the program will include an increased focus on Asian art, applied arts, and prints and other works on paper, thus expanding the scope of previous WWII-era provenance research. PREP is primarily funded by the German Program for Transatlantic Encounters, and also by the Federal Government Commissioner for Culture and the Media.

Visit their website.

 

 

A New Master’s Program in Art History at the O’Donnell Institute

We are very pleased to announce that the O’Donnell Institute’s new Master’s Program in art history has been approved by the University of Texas System and the State of Texas, and will welcome its first class in Fall 2018.

 

The Master’s Program in Art History at the O’Donnell Institute introduces students to a global history of art by way of close engagement with artworks held in Dallas-Fort Worth collections. In their coursework and independent research projects, students will draw on privileged access to area collections, outstanding research resources, and the innovative and interdisciplinary research initiatives of O’Donnell Institute scholars to explore a broad range of material across geography, chronology, and medium, and to build a strong foundation in historiography, theory, and professional practices.

 

The intensive sixteen-month program is designed as a rigorous, immersive experience for the most motivated students, launching graduates directly into top doctoral programs or arts careers. The curriculum comprises two Foundations courses (Practices of Art History and History of Materials and Techniques); five Master’s Seminars that explore a body of material or research question that draws on faculty members’ areas of expertise; and a Practicum in which students design and carry out an original project in the form of a scholarly essay, a small exhibition, a collaboration with a practicing artist, a conservation project, archival research, or a data-driven art history project.

 

The program will launch in Fall 2018. More information about applying will be available soon. In the meantime, please contact Assistant Director Dr. Sarah Kozlowski (sarah.kozlowski@utdallas.edu) for more information.

The Richard Brettell Award in the Arts Names Peter Walker as First Recipient

Peter Walker

Peter Walker

The Richard Brettell Award in the Arts at UT Dallas, established in 2016 with an endowment from Mrs. Eugene McDermott, recognizes the essential and fundamental role of the arts in the life of the university. The award honors an artist working in or between any of the broad spectrum of artistic endeavors, including the visual arts, music, literature, performance, and architecture/design.

 

Given every other year, the award consists of a prize of $150,000 and a week’s residence on the UT Dallas campus and in Dallas, during which the awardee will present a major public lecture and interact in a variety of venues with the students, staff and faculty of UT Dallas and with the larger arts community of the Dallas-Fort Worth area. Prospective awardees will be nominated by the Brettell Award Advisory Committee, composed of international leaders in arts and culture, with the selection of the awardee being made by an Executive Committee composed of university and community leaders.

 

The concept of the Brettell Award is inspired by the Eugene McDermott Award in the Arts at MIT, created by the McDermott Family at the Massachusetts Institute of Technology in 1974. The MIT McDermott Award is also made every other year, and it is planned to schedule the two events in alternating years.

 

Landscape architect Peter Walker was the first recipient of the Brettell Award. Founder of PWP Landscape Architecture, Walker designed the ongoing campus enhancement at UT Dallas and the Nasher Sculpture Center. His other projects include the National September 11 Memorial in New York, which he designed with Michael Arad.

 

Events surrounding Peter Walker’s stay in Dallas included talks by the landscape architect on his work designing the UT Dallas promenade and a discussion titled Whither Art History in Dallas? The Arts District or the University of Texas at Dallas Campus? at the Nasher Sculpture Center with Jeremy Strick, Director of the Nasher Sculpture Center; Peter Walker; Gary Cunningham, Founder and President of Cunningham Architects; and Dr. Richard Brettell, the Margaret M. McDermott Distinguished Chair and the Founding Director of the Edith O’Donnell Institute of Art History.

 

PRESS

Read the Dallas Morning News article here announcing Peter Walker as the winner.

More from UTD’s press release.

Gabriel Dawe Named Artist in Residence at Fairmont Dallas Hotel

Gabriel Dawe

Gabriel Dawe

 

Dallas-based artist Gabriel Dawe has been invited to be Artist-in-Residence at the Fairmont Hotel in Dallas. Established to support the local arts community, the Fairmont’s Artist-in-Residence program provides regional artists with a private studio space and a solo exhibition in the hotel’s contemporary gallery.

Future Artists-in-Residence will be selected by a prestigious panel assembled by Mehl including Melissa Durkee, the registrar from the Nasher Sculpture Center;  Maggie Adler, curator for the Amon Carter Museum in Fort Worth; artist Robert Barsemian; and noted art consultant Gail Sachson along with Mehl.

Originally from Mexico City, Gabriel Dawe creates site-specific installations that explore the connection between fashion and architecture, and how they relate to the human need for shelter in all its shapes and forms. His work is centered in the exploration of textiles, aiming to examine the complicated construction of gender and identity in his native Mexico and attempting to subvert the notions of masculinity and machismo prevalent in the present day.

Dawe’s work has been exhibited in the US, Canada, Belgium, and the UK. After living in Montreal, Canada, for 7 years, he moved to Dallas, where he obtained his MFA at the University of Texas at Dallas. For the final two years of his degree program, he was an artist in residence at UTD’s CentralTrak. His work has been featured in numerous publications around the world, including Sculpture magazine, the cover of the 12th edition of Art Fundamentals published by McGraw-Hill, and in author Tristan Manco’s book Raw + Material = Art. He is represented locally by Conduit Gallery and in Brussels by Lot 10 Gallery. Dawe will be at The Fairmont Dallas through April.

The Fairmont Dallas is located at 1717 N. Akard St., Dallas TX 75201 in the heart of the Dallas Arts District. For more information 214-720-2020 www.fairmont.com/dallas.

ABOUT THE ARTIST IN RESIDENCE PROGRAM

Established in 2010, The Fairmont Dallas’ Artist-in-Residence program features local, regional and national artists who reside in the hotel for three months at a time while working in an onsite studio located  on the Lobby Level across from Starbucks. Artwork created throughout the length of the artist’s stay serves various purposes – some is displayed in public areas of the hotel, others illuminate the hotel’s themed Arts District Suite and a number of select pieces benefit various philanthropic efforts.

 

The Art of Examination: Art Museum and Medical School Partnerships Forum

(Pictured left to right) Wendy Woon, The Edward John Noble Foundation Deputy Director for Education and Bonnie Pitman, Distinguished Scholar in Residence.

(Pictured left to right) Wendy Woon, The Edward John Noble Foundation Deputy Director for Education and Bonnie Pitman, Distinguished Scholar in Residence.

The Art of Examination: Art Museums and Medical School Partnerships brought together over 130 leading professionals in these fields at a two day convening on June 8 and 9, 2016 at the Museum of Modern Art, New York.

The Forum was organized by Bonnie Pitman, Distinguished Scholar in Residence at the University of Texas at Dallas. The Forum was generously supported by the Edith O’Donnell Institute of Art History, which also hosts the website with the content from the meeting.

Planning for the conference included Wendy Woon, The Edward John Noble Foundation Deputy Director for Education at MoMA, a team from MoMA’s Education Department, colleagues at The Frick Collection and The Metropolitan Museum of Art, Dr. Joel Katz and Dr. Elizabeth Gaufberg from Harvard Medical School, and Ray Williams from the Blanton Museum of Art at UT Austin.

The Forum was designed to share information about the variety of programs and partnerships that engage medical students, interns, residents and fellows in learning to look at works of art to develop observational, interpretative, empathic, and collaborative skills in order to enhance their clinical diagnosis and practices. Information on research and evaluation studies was also shared

The goals of The Art of Examination: Art Museums and Medical School Partnerships were:

  • to explore new program ideas and formats for engaging medical schools and art museums to deepen awareness of looking closely and responding creatively to works of art and relating these to clinical practice;
  • to connect with a network of collaborators working in this field;
  • and to translate ideas into action for future innovations in programs, research and partnerships.

MoMA_Art_Examination

Participation in the Forum was by invitation and required an art museum professional and medical educator who partner in a museum-based program to attend together. The reason for the team participation was to increase collaboration and shared information among the partner institutions and to highlight the complementary areas of expertise that each partner brings to this work.

Sixty medical schools attended including Columbia University College of Physicians and Surgeons, Colorado School of Medicine, The University of Colorado Medical School, Harvard Medical School, Mayo Clinic Center in the Humanities, Stanford School of Medicine, University of Michigan Medical School, University of Texas Southwestern Medical School, University of Virginia Medical School, and Yale School of Medicine.

Sixty art museums participated including the Ackland Art Museum, University of North Carolina, The Art Institute of Chicago, The Cleveland Museum of Art, The Dallas Museum of Art, The Frick Collection, The Hood Museum of Art, The Isabella Stewart Gardner Museum, The Metropolitan Museum of Art, The Museum of Modern Art, The Museum of Fine Arts, Boston, Philadelphia Museum of Art, Rhode Island School of Design Museum of Art, and Yale Center for British Art.

Participation in the Forum was defined by the capacity of MoMA’s auditorium and workshop spaces.  Over 40 professionals who could not be accommodated were on the waiting list and many more expressed interest in attending because of a desire to develop similar programs and partnerships.

The number and variety of art museum and medical school programs continues to expand and the participants in the Forum offered ideas to inform the field  and create opportunities to exchange teaching methodologies and establish networks for research and evaluation and future convenings.

Approaches to Art Objects session included the Master Course "Drawing and Touching" in the MoMA galleries

Approaches to Art Objects session included the Master Course “Drawing and Touching” in the MoMA galleries

From Forum participants:

This experience opened my eyes to so many new ideas. It strengthened my partnership with my medical school counterpart. It spurred even more questions than I had coming into it. I loved the variety of formats and activities and felt so privileged to have the opportunity to participate.
-  Molly Medakovich, PhD, Teaching Specialist, Adult Programs, Denver Art Museum

It was an invaluable experience to be at the Forum with my health affairs colleagues, to hear, see, and discuss so many other programs, and to process what we learned together.  – Carolyn Allmendinger,
Director of Academic Programs, Ackland Art Museum, The University of North Carolina at Chapel Hill

“Wonderful to bring the various disciplines together in conversation – museum educators and medical educators. So much to learn from each other! – Perspective enhancing!”  – Elizabeth Gaufberg, Harvard Medical School

From around the web
“MoMA shows museums can be relevant beyond art appreciation”, Wendy Woon for the Daily News

Photos: Manuel Martagon