Category: Field Reports

Field Reports

Dr. Paula Lupkin presented her paper on skyscrapers, information networks, and “distribution design” at the Chicago Design Conference in November. This presentation was based on the research she did at the Smithsonian with the small grant she received in summer 2017. Dr. Lupkin was invited along with an international group of scholars to present at this ground-breaking conference to open a dialogue on the city’s design culture. Visit www.chicagodesignconference.com for more info.

Dr. Lupkin also published her article, “The Wainwright Building: Monument of St. Louis’s Lager Landscape,” in the fall 2018 issue of Journal of the Society of Architectural Historians.

 

Dr. Lisa Owen was invited to present her research at the “TRACE: Artisanal Intelligence, Material Agency, and Ritual Technology in South Asian Art Symposium” at Harvard University on Dec. 8. This symposium brings together scholars whose research embraces methodological interventions and theoretical implications of art history’s material turn in the field of South Asian art and architecture, mostly focusing on the period between 500 CE and 1500CE.  Thematically organized, papers demonstrate how attending to thingness and the process of making helps reveal hitherto invisible connections across time and space.  Going beyond the rubric of material agency, papers also explore the importance of considering somatic intelligence and ritual technology that developed to activate power and sacrality of objects and buildings in Indic religious contexts. Further consideration of ritual knowledge helps situate the trace of time left in matter through artistic mediations in historical and experiential contexts.

 

Dr. Nada Shabout is the organizer of the Talks program at Abu Dhabi Art this year exploring Global Circulation of Art and The New Markets. Abu Dhabi Art expands beyond the notion of a traditional art fair, in placing strong emphasis on a diverse public engagement programme, including art installations and exhibitions, talks and events that take place in different locations throughout the year. The culmination of this year-long programme is the Abu Dhabi Art event in November 2018, which provides an important sales platform for participating galleries whilst also offering these galleries an opportunity to showcase ambitious installations and site specific works by their artists to an audience of over 20,000 visitors.

 

Dr. Lauren Cross gave an artist’s talk at the Dallas Museum of Art on December 19 at 12:15 pm. This is part of her role at C3 Visiting Artist at the museum. Through the C3 Visiting Artist Project, the Center for Creative Connections invites artists from a variety of disciplines to participate in the development and facilitation of educational programs and spaces at the Dallas Museum of Art.

Dr. Cross is also one of four artists selected as the inaugural cadre of Carter Community Artists at the Amon Carter Museum supported in part by grants from the Arts Council of Fort Worth and The William Randolph Hearst Foundation. This new program is “dedicated to working with and supporting local artists with the goal to create opportunities for the North Texas community to connect with the museum’s renowned collection and artists in the region. Each year, the Amon Carter will select four local artists to assist with planning and leading programs on-site, off-site, and digitally. Now through September 2019, the museum will be working with artists Christopher Blay, Lauren Cross, Diane Durant, and Arnoldo Hurtado as part of the inaugural year for this new initiative.” For more information, visit http://www.cartermuseum.org/press/releases/the-amon-carter-museum-of-american-art-announces-the-establishment-of-carter-community-artists-a-program. 

 

Apollinaria Nemkova

Apollinaria Nemkova, penned an article in Exhibition, a peer-reviewed journal of exhibition theory and practice, published by the American Alliance of Museums. The issue of Fall 2018, titled Interactivity, showcases exemplars from a variety of museums. While others describe interactivity in science, nature, and history museums — Nemkova portrays a “user friendly” art museum, drawing on her experience as a director at the museum of contemporary art in St. Petersburg, Russia.

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

Claire Soares Presents at UTD Annual Scholars Conference and in Krakow

UT Dallas Annual Scholars Conference

At the Annual Scholars Conference, (March 3 – 5, 2018), held at UT Dallas, Claire Soares, filmmaker, presented a paper on film versus written literature as a vehicle for conveying a subject’s depth, nuances and texture. “DEFIANCE THE MOVIE AND DEFIANCE THE BOOK: COMPARING THE IMPACT OF FILM AS A TYPE OF LITERATURE AND WRITTEN LITERATURE”, also compared both media for pedagogical value. 

Soares used the film DEFIANCE (about the Bielski forest fighters), a documentary on the same topic, videos of filmmaker interviews and the book by the same name, as her “illustrators”.

European Association for Jewish Studies Conference 

Claire Soares’ areas of interest include art (including painting and archaeology), forensics, and World War II looted art (provenance and detection). Her paper “VAN MEEGEREN’S VERMEERS” and “A BUYER CALLED GOERING”, explores “Vermeers” that were forged using material science mastery. The paintings were sold to high ranking Nazis, thus swindling the buyers out of millions of dollars. 

Soares’s paper is scheduled for presentation at the European Association for Jewish studies Conference (July 15 – 19, 2018) in Krakow this summer. Her trip to Krakow will be made possible by a generous grant. She is the recipient of an award from the Istvan and Zsuzsanna Ozsváth Research Fund, made possible by Nancy A. Nasher and David J. Haemisegger, in memory of Israel and Janet Nasher & Patsy and Raymond Nasher.

SMU Distinguished Professor of Art History Emerita Alessandra Comini Updates

Alessandra Commini Honored for Research on Egon Schiele in Austria

Kept under wraps from her until she entered the museum to which she contributed so much research to, Alessandra Comini was greeted with a most pleasant surprise: the new Egon Schiele Exhibit, “Egon Schiele Private: A Biographical Approach” in the artist’s museum was dedicated to her: “Alessandra Comini: A Journey That Made History”!

The exhibit details:

“…the young academic scholar with the ambition of devoting her future career in research to the artist whom she had first come across in a small exhibition in Berkeley, California.

“One sunny August morning in 1963 she hired a Volkswagen and set off on a legendary trip through Schiele’s Lower Austria.  Comini stopped off in Klosterneuburg, Tulln and Neulengbach, later also in Krems and Mühling. She visited the Gymnasium (grammar school) in Klosterneuburg, the house of Schiele’s birthplace in Tulln, and the prison in Neulengbach, where the artist had been kept in custody for 21 days.

“On that eventful day, which Comini herself calls the high note of her academic career, she took photos in all relevant places and sent them to Egon Schiele’s sisters. Eventually she met up with Melanie and Gerti, also with Schiele’s sister-in-law Adele. This resulted in long-standing friendships and a number of unique audio tapes of interviews, which open up an authentic and very personal view of the artist’s life.”

 

Video monitor stations are placed where visitors can learn about the life of Schiele, based on taped interviews Comini conducted with Schiele’s two sisters and sister-in-law 49 years after his death, as enacted by shadow figures. Three sit-down stations also play Schiele/Comini videos.

 

On the opening day of the exhibit, Comini received The Golden Medal of the Decoration of Merit for Services to the Province of Lower Austria in recognition and appreciation of her long-standing and meritorious work as an art historian and author. It was the second time she received a service award from Austria for her work on Schiele. In 1990 the Republic of Austria gave Comini a similar service-to-the-nation award for her research, which included her 1963 discovery of the location of Schiele’s unknown, forgotten Neulengbach prison cell.

 

Alessandra Comini received The Golden Medal of the Decoration of Merit for Services to the Province of Lower Austria in recognition and appreciation of her long-standing and meritorious work as an art historian and author.

 

Comini lectures on Egon Schiele in Neulengbach, Austria

Lecture in Neulengbach

Alessandra Comini and Günter Wagensommerer, fellow researcher, gave exciting insights into the life of the artist Egon Schiele at a lecture held in the Austrian town of Neulengbach.  In 1912, Egon Schiele moved to Neulengbach and was soon imprisoned there, where he executed a series of 12 paintings depicting the difficulties and discomfort of being locked in a jail cell. Comini gave Wagensommerer a gift she received from one of the sisters of the artist.

 

 

 

Visiting Peter Altenberg in Adolf Loos’s American bar

Alessandro Comini visits the American Bar in Vienna, Austria. Austrian and Czech architect and theorist Adolf Loos designed the bar in 1908 to emulate the American style of drinking such as the newly-popular cocktail. Loos dedicated the bar to his friend, poet Peter Altenberg, and a portrait of him still hangs inside.

 

Adolf Loos’s American bar

 

 

Field Updates: UNT’s Dr. Nada Shabout

Nada Shabout, second from left, earns UNT Presidential Excellence Award. Photo courtesy UNT.

Dr. Nada Shabout, Professor of Art History and Director of Contemporary Arab and Muslim Cultural Studies Initiative (CAMCSI) at the University of North Texas has received UNT’s Presidential Excellency Faculty Award 2018.  The prestigious award honors individuals for significant and superb accomplishments that have been recognized nationally. This year Shabout also received the Creative Capital, Arts Writer Grant from the Andy Warhol Foundation.  She was the 2017 recipient of The Crow Collection of Asian Art’s Achievement in Asian Arts and Culture Award.

Her co-edited book with fellow editors Anneka Lenssen, Sarah Rogers, Modern Art in the Arab World: Primary Documents, was published this March by The Museum of Modern Art. Associated events will be held as part of MoMA’s International Program.

More About Dr. Nada Shabout:

Dr. Nada Shabout is a professor of art history and the coordinator of UNT’s Contemporary Arab and Muslim Cultural Studies Initiative. She is the founding president of the Association for Modern and Contemporary Art from the Arab World, Iran and Turkey, and is widely recognized as one of the world’s most important art historians.

Shabout is the founder and project director of the Modern Art Iraq Archive; a former member of the editorial committee of the Middle East Research and Information Project and of the International Editorial Advisory Board; and subject editor for the Routledge Encyclopedia of Modernism.

 

Launch events in Beirut and New York for “Modern Art in the Arab World: Primary Documents”

Please join us for launch events in Beirut on April 28 and in New York on May 23 to celebrate the publication of Modern Art in the Arab World: Primary Documents (2018), edited by Anneka Lenssen, Sarah Rogers, and Nada Shabout. 
 
Saturday, April 28, 2018 
17:00–21:00 (5:00–9:00 p.m.) 
The Sursock Museum 
Auditorium, Level 2 and Museum Store 
Greek Orthodox Archbishopric Street 
Ashrafieh 20715509 
Beirut, Lebanon 
 
Conversation with Anneka Lenssen, Sarah Rogers, Nada Shabout, co-editors of the book, and Zeina Arida, Nicolas Ibrahim Sursock Museum, with introduction by Glenn D. Lowry, MoMA. 
 
Wednesday, May 23, 2018 
6:00–8:00 p.m. (18:00–20:00) 
The Museum of Modern Art 
The Roy and Niuta Titus Theater 2 
11 West 53 Street (between Fifth and Sixth avenues) 
New York, NY 10019 
 
Conversation with Anneka Lenssen, Sarah Rogers, Nada Shabout, co-editors of the book, and Iftikhar Dadi, Cornell University, with introduction by Glenn D. Lowry, MoMA. 
 
Admission for both events is free, with seating offered on a first-come, first-served basis. RSVP is required for the New York launch. 
 
RSVP for May 23 at The Museum of Modern Art, New York 
 
Both events will bring to life Modern Art in the Arab World: Primary Documents and the book’s diverse content, multiple collaborators, and rich source materials that aim to further the study of modernism in a global frame. 
 
Modern Art in the Arab World: Primary Documents offers an unprecedented resource for the study of modernism: a compendium of critical art writings by 20th-century Arab intellectuals and artists. The selection of texts—many of which appear for the first time in English—includes manifestos, essays, transcripts of roundtable discussions, diary entries, exhibition guest-book comments, and letters. Traversing empires and nation-states, diasporas and speculative cultural and political federations, the documents bring to light the formation of a global modernism that includes debates on originality, public space, spiritualism and art, postcolonial exhibition politics, and Arab nationalism. The sourcebook is framed chronologically, and features contextualizing commentaries and essays to assist readers in navigating its broad geographic and historical scope. A newly commissioned essay by Ussama Makdisi provides a historical overview of the region’s intertwined political and cultural developments during the 20th century. 
 
Speakers: 
 
Zeina Arida is the director of the Nicolas Ibrahim Sursock Museum in Beirut. 
 
Iftikhar Dadi is associate professor in the Department of The History of Art and Visual Studies at Cornell University. 
 
Anneka Lenssen is assistant professor of Global Modern Art in the History of Art Department at the University of California, Berkeley. 
 
Glenn D. Lowry is director of The Museum of Modern Art in New York. 
 
Sarah Rogers is an independent scholar. 
 
Nada Shabout is professor of art history in the College of Visual Arts and Design and the coordinator of the Contemporary Arab and Muslim Cultural Studies Initiative at the University of North Texas. 
 
Leadership support for Modern Art in the Arab World: Primary Documents was provided by The International Council of The Museum of Modern Art. Major support was provided by Misk Art Institute and by Zaza Jabre. Generous funding was provided by an anonymous donor, The Fran and Ray Stark Foundation, Rana Sadik and Samer Younis, Darat al Funun – The Khalid Shoman Foundation, Abdelmonem Bin Eisa Alserkal, The Kamel Lazaar Foundation, Geneva/Tunis, Barjeel Art Foundation, Marieluise Hessel Artzt, and other donors. 
 

Gail Sachson Honored with Lifetime Achievement Award

Gail Sachson

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

UNT Art Historian Jennifer Way: Scholar Report

Jennifer Way, University of North Texas, published “Mobilizing Craft: Diplomacy in the International Turn of American Art History,” in MODOS Revista de História da Arte 2 no. 1 (2018). Find it at https://www.publionline.iar.unicamp.br/index.php/mod/article/view/967.
She presented “When photos lie to you: visual depictions of needs-based aid among the displaced in postcolonial Vietnam” at the American Historical Association annual conference, and she is chairing the session, “Cultures of Allegiance and Resistance: U.S. Efforts at Peace and Militarism through Art” at the 2018 annual conference of the Society for Historians of American Foreign Relations.
Her MA art history students are active in presenting their research, too. Current student Athena Buxton is presenting “Losing Her Space: Charlotte Salomon’s Leben? Oder Theater? and Inaccessible Places” at Things Left Behind: Material Culture, Disaster, and the Human Experience, University of Missouri, Art History and Archaeology Graduate Student Association Symposium. A recent graduate of the program, Isabel Lee, is presenting  “Soft American Power? ca 1970, Contemporary Art from Lebanon,” in the Art in Middle Eastern Diplomacy session at College Art Association annual conference, Los Angeles.

Art History Community Mourns the Loss of Curator Nicole Atzbach

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

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

Read more from SMU’s website

 

Dallas Museum of Art News and Exhibitions

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

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

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

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

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

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

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

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

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

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

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

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

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

On view at the DMA this Winter/Spring:

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

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

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

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

Laura Owens
March 25 to July 29, 2018
Hoffman Galleries

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

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

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

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

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

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

 

 

December 6, 2017

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

Cc: President Greg Fenves

From: The Art History Faculty

Re: Future of the Fine Arts Library

 

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

 

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

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

 

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

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

 

Signed:

Eddie Chambers

Michael Charlesworth

John R. Clarke

Penelope Davies

George Flaherty

Julia Guernsey

Linda Dalrymple Henderson

Joan A. Holladay

Ann Johns

Janice Leoshko

Stephennie Mulder

Adele Nelson

Moyo Okediji

Nassos Papalexandrou

Astrid Runggaldier

Glenn Peers

Susan Rather

Ann Reynolds

Astrid Runggaldier

Richard Shiff

Jeffrey Chipps Smith

David Stuart

Louis Waldman

 

Become a Member of ICOM-US today!

To Fellow Art Historians:

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

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

 

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

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

 

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

 

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

 

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

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

 

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

 

Sincerely,

 

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

Doctoral Fellow, Edith O’Donnell Institute

TCU School of Art Announcements

Babette Bohn Receives National Gallery Fellowship

Dr. Babette Bohn will be a Samuel H. Kress Senior Fellow at the Center for Advanced Study in the Visual Arts, at the National Gallery of Art in Washington D.C. for the full 2017-18 academic year. She will be working on her book, Women Artists, Their Patrons, and Their Publics in Early Modern Bologna. 

 
Bohn was also selected to give the Samuel H. Kress-endowed lectureship for the Italian Art Society in June 2017 in Bologna. Her lecture, drawn from her book-in-process, was entitled, “Il fenomeno bolognese” rivisto: Donne artiste a Bologna tra Quattrocento e Settecento.

Mark Thistlethwaite Teaches Course in Conjunction with Amon Carter Exhibition

Mark Thistlethwaite, Kay and Velma Kimbell Chair of Art History TCU School of Art, is teaching a semester-long TCU art history course–“Americans Outdoors”–at Amon Carter Museum of American Art, in conjunction with the exhibition “Wild Spaces, Open Seasons: Hunting and Fishing in American Art” (opening October 7). The course includes a public lecture on Wednesdays at 3:00 p.m.

For titles of these lectures and further information, see the ACMAA website.

UNT’s Jennifer Way Presenting at Boston Seminar on Modern American Society and Culture

This semester Jennifer Way (UNT) is presenting Allaying Terror: Domesticating Artisan Refugees in South Vietnam, 1956, at the Boston Seminar on Modern American Society and Culture held annually at the Massachusetts Historical Society, the nation’s first historical society. Also, she is chairing the session, Circuits of Graphic Protest, at the annual conference of the American Studies Association, Chicago.
Way’s and her UNT colleague Lauren Cross’s Conversations: Art, Politics and North Texas series at UNT on the Square in downtown Denton consists of discussions featuring DFW artists and scholars who speak about their socially engaged work as it relates to urban contexts, civic institutions, culture and history within various cities in North Texas. This fall, look for Lee Escobedo on September 20 and Vicki Meek on October 18.
 

Dallas Museum of Art News and Exhibitions

Image courtesy The Dallas Museum of Art

The New AOL (Art Online)

This summer the DMA unveiled a new way to access its online collection of encyclopedic art at DMA.org. The development of the enhanced site is part of the Museum’s ongoing digitization initiative to expand access to its encyclopedic collection, which recently reached more than 24,000 objects. The expanded online collection features an updated design that enables access to a larger quantity and variety of information, now providing a multitude of entry points and pathways to the Museum’s robust online resource. New additions to the online collection include an expanded screen layout that allows web visitors to explore catalogue essays, summaries of historical periods, artist biographies, and descriptions of techniques and their importance in certain regions or cultures. The fresh design also features teaching ideas produced by the Education Department alongside art historical essays. The enrichment of the Museum’s online content is supported by a grant from the O’Donnell Foundation, bestowed to the DMA in November 2013, to offer the entire collection online.

 

Image courtesy The Dallas Museum of Art

DMA to Host Three-Day Celebration of Islamic Art and Culture

Islamic Art Celebration: The Language of Exchange is a three-day event exploring Islamic art and culture in honor of the Keir Collection of Islamic Art, one of the most geographically and historically comprehensive private collections of Islamic art in the world. From November 16 through 18, Museum-goers are invited to view the exquisite works of art on view in the Keir Collection of Islamic Art Gallery and take part in special curated programming. Highlights include a keynote talk on the influence of global exchange on Islamic art with Dr. Sheila R. Canby, Curator in Charge of the Department of Islamic Art at New York’s Metropolitan Museum. Other scheduled talks include author, educator, and artist Eric Broug exploring the complex geometric patterns seen in Islamic art and architecture, and art historian Michael Falcetano speaking on objects from the Keir Collection that were made to be used in everyday life. With tours, musical performances, and artist demonstrations, visitors will have numerous ways to learn more about Islamic art and the influence it has had across cultures.

 

Image courtesy The Dallas Museum of Art

Spring Cleaning

It is said that a picture is worth a thousand words, and when it comes to research that couldn’t be more true. Photographs in the DMA Archives have provided information on a variety of topics, from the Level 3 skylights and limestone cladding, to how an artwork was installed in an exhibition, to the design of an event, to what the Arts District looked like before it was an arts district. To facilitate the use of the Archives’ photography collections, the DMA recently completed a project that transformed boxes of photographs that were a bit disorganized into tidy, usefully arranged, helpfully described, and well preserved collections. Drawing on years of experience helping people find historic images, DMA Archivist Hillary Bober arranged the photographs into nine logical subject-based collections: Building, Collection Documentation, Development and Events, Education and Programming, Exhibition Installation, People, Publications, 90th Anniversary Timeline, and Miscellany.

 

 

Amedeo Modigliani, Boy in Short Pants, c. 1918, oil on canvas, Dallas Museum of Art, gift of the Leland Fikes Foundation, Inc. 1977.1; Piet Mondrian, Spring Sun (Lentezon): Castle Ruin: Brederode, c. late 1909–early 1910, oil on Masonite, Dallas Museum of Art, Foundation for the Arts Collection, gift of the James H. and Lillian Clark Foundation, 1982.24.FA, © 2012 Mondrian/Holtzman Trust c/o HCR International Washington DC info@mondriantrust.com

Modernism on the Road

Three well-known and well-loved works from the DMA’s European art collection are traveling across the Atlantic this fall to be featured in a trio of prestigious exhibitions focusing on some of the most memorable artists of the 20th century. Amedeo Modigliani’s painting Boy in Short Pants can be seen in the Tate Modern’s comprehensive retrospective of Modigliani’s work opening in November. At the Van Gogh Museum in Amsterdam, Piet Mondrian’s early masterwork Spring Sun (Lentezon): Castle Ruin: Brederode is included in The Dutch in Paris 1789–1914, which presents Paris through the work of eight Dutch artists and will later travel to the Petit Palais in Paris. Finally, Henri Matisse’s magnificent Still Life: Bouquet and Compotier will capture attention at Frankfurt’s Städelsches Kunstinstitut und Städtische Galerie as part of Matisse-Bonnard: Long Live Painting!, the first exhibition in Germany to bring these key modern masters together.

 

 

Exhibitions

 

Multiple Selves: Portraits from Rembrandt to Rivera
Through November 5, 2017
Level 2
DMA organized; exclusively at the DMA

Shaken, Stirred, Styled: The Art of the Cocktail
Through November 12, 2017
Focus Gallery II
DMA organized; exclusively at the DMA

After Hours: Works by DMA Staff
Through November 26, 2017
Mezzanine 2
DMA organized; exclusively at the DMA

The Keir Collection of Islamic Art Gallery
Through April 28, 2019
Focus Gallery I
DMA organized; exclusively at the DMA

Waxed: Batik from Java
Through December 3, 2017
Level 3
DMA organized; exclusively at the DMA

Truth: 24 frames per second
October 22, 2017–January 28, 2018
Chilton Gallery I and Hoffman Galleries
DMA organized; exclusively at the DMA

Yayoi Kusama: All the Eternal Love I Have for the Pumpkins
October 1, 2017–February 25, 2018
Stoffel Quadrant Gallery
DMA organized; exclusively at the DMA

Edward Steichen: In Exaltation of Flowers
September 2, 2017–May 13, 2018
Rachofsky Quadrant Gallery

DMA organized

 

Arts & Letters

Arts & Letters Live, the literary series of the Dallas Museum of Art, presents Walter Isaacson

Thursday, October 26, 7:30 p.m.

First Methodist Church of Dallas

From the author of the bestselling biographies Benjamin Franklin and Einstein comes Leonardo da Vinci, an engrossing portrayal of the world’s most creative genius. Based on thousands of pages from Leonardo’s notebooks and new discoveries about his life and work, Isaacson weaves a narrative connecting his art and science. He also illustrates how Leonardo’s genius stemmed from skills we can improve in ourselves – passionate curiosity, careful observation, and a playful imagination. Isaacson, University Professor of History at Tulane University, has also written the bestselling biographies Benjamin Franklin and Einstein; Isaacson has served as CEO of the Aspen Institute, chairman of CNN, and editor of Time magazine.

Enjoy a book signing with Isaacson following the event; tickets include a hardcover book.

For tickets, visit DMA.org/tickets or call 214-922-1818.

 

Dallas Museum of Art Announces Acquisition of Yayoi Kusama Mirror Room

All the Eternal Love I Have for the Pumpkins is the first Mirror Pumpkin Room created by Kusama Since 1991

The Dallas Museum of Art (DMA) announced the acquisition of Yayoi Kusama’s All the Eternal Love I Have for the Pumpkins (2016), one of the artist’s signature Infinity Mirror Rooms. The installation is the first mirror pumpkin room created by Kusama since 1991, and the only Infinity Mirror Room of its kind in a North American collection. Showcasing Kusama’s singular approach to installation, the acquisition adds a new dimension to the representation of Conceptual art, Pop art, Minimalism and Surrealism in the DMA’s acclaimed modern and contemporary art collection. The work has been acquired through the generous support of collectors Cindy and Howard Rachofsky and will be on view October 1, 2017 through February 25, 2018.

“All the Eternal Love I Have for the Pumpkins provides opportunities to explore a range of contemporary art movements within our collection, as well as the undeniable influence of Kusama across decades,” said Agustín Arteaga, the DMA’s Eugene McDermott Director. “We are excited to share this boundary – pushing, experiential work with our visitors and to be the only museum in North America to have one of Kusama’s pumpkin-themed mirror rooms represented in our collection.”

With All the Eternal Love I Have for the Pumpkins, Kusama incorporates one of her quintessential symbols, the spotted pumpkin. Similar to her seminal pumpkin room, Mirror Room (Pumpkin) (1991), which was created for the Japanese Pavilion at the 1993 Venice Biennale, All the Eternal Love I Have for the Pumpkins focuses the reflective chamber on a series of acrylic yellow gourds covered in black polka dots.Withthismorerecentwork,Kusamaexpandsonthe1991 MirrorRoombyallowingviewersto step inside the mirrored space and fully immerse themselves in Kusama’s creation, becoming part of the art. Drawing on several of Kusama’s characteristic themes, including infinity, the sublime and obsessive repetition, the work creates an immersive and captivating visitor experience.

“This major installation highlights one of Kusama’s most intense moments of innovation, in a pioneering six decades of artistic production that has traversed Conceptual art, Pop, Surrealism and Minimalism,” said Gavin Delahunty, the Hoffman Family Senior Curator of Contemporary Art. “The Infinity Mirror Rooms are key to understanding her practice, and as such we are delighted to welcome it to Dallas, joining several other major works by the artist in our community.”

Initiated by Delahunty, in close partnership with the Rachofskys, the acquisition of All the Eternal Love I Have for the Pumpkins is jointly owned by the DMA and the Rachofsky Collection.

READ MORE about the DMA’s new acquisition.

Dallas Museum of Art launches first major exhibition in the Museum’s history dedicated to time-based media

Dallas Museum of Art Presents

Truth: 24 frames per second

The Museum’s First Major Exhibition Dedicated to Time-Based Media

 24 Pioneers of Film and Video, Including
Dara Birnbaum, Morgan Fisher, Tatiana Gaviola, Arthur Jafa, Steve McQueen, Shirin Neshat, Pratibha Parmar, Rachel Rose, and Chick Strand

The US debut of John Gerrard’s Western Flag (Spindletop, Texas)
And the World Premiere of a Newly Restored Version of Bruce Conner’s REPORT That Examines the Assassination of John F. Kennedy in Dallas

On October 22, the Dallas Museum of Art (DMA) presents the first major exhibition in the Museum’s history dedicated to time-based media. Truth: 24 frames per second brings together 24 pioneers of film and video and over six decades of work focused on pressing contemporary themes, such as race relations, political unrest, sexual identity and the media, to explore the nature of truth and reality in contemporary life.

“The DMA’s time-based media collection is an incredibly rich and exciting resource for our understanding of contemporary life and important themes that are seen throughout the country today,” said Agustín Arteaga, the DMA’s Eugene McDermott Director. “We are pleased to bring these pioneering film and video works to our audiences as a way to learn about the development of this media over the past 50 years and the impact it has had on modern culture”

On view through January 28, 2018, Truth is curated by the DMA’s Hoffman Family Senior Curator of Contemporary Art Gavin Delahunty with The Nancy and Tim Hanley Assistant Curator of Contemporary Art Anna Katherine Brodbeck, and is inspired by the DMA’s significant film and video holdings. The exhibition includes 10 works from the collection, many of which have never before been on view.

The era of post-truth politics poses particular questions for the medium of film, which, since its inception in the late 19th century, has been claimed to surpass all other forms of representation in duplicating reality. French film director Jean-Luc Godard’s well-known statement “[t]he cinema is truth 24 frames per second” posits that the moving image is particularly well placed to ethically and creatively capture “reality” on screen. Godard is not suggesting that filmic representations are unequivocally true, but that they can frame what remains of reality and as such effectively participate in a meaningful construction of it. These artists can draw our attention to marginalized or excluded societal positions, and challenge the powers that may be keeping them hidden or silenced. The exhibition is designed around three filmic techniques—appropriation, documentary and montage—that have been selected to confront the viewer with actual pieces of reality within a particular frame. These approaches have been chosen to create rich combinations, not as the neutral picturing of reality, but as a way of coming to terms with it.

READ MORE about this ground-breaking show.

Reports from the Dallas Museum of Art

DMA_Logo_Print_CMYK_2Color  

Courtesy Dallas Museum of Art

Courtesy Dallas Museum of Art

Viva DMA

 

On March 12, a sweeping survey of painting, sculpture, photography, drawings, and films that document Mexico’s artistic Renaissance during the first half of the 20th century opened to the public. The much anticipated exhibition México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde brought in that day more than 2500 excited visitors eager to gaze at beloved masterworks and behold lesser-known pioneers of Mexican Modernism. In the days leading up to the opening, the Museum welcomed esteemed guests including Maria Cristina García Cepeda, the Minister of Culture of Mexico; Jorge Baldor, the founder of the Latino Center for Leadership Development in Dallas; and many Mexican art lenders to the exhibition’s DMA presentation. Accompanying the impressive exhibition is an equally beautiful illustrated catalogue coordinated by the DMA and the Secretaría de Cultura/Instituto Nacional de Bellas Artes. It is edited by Dr. Agustín Arteaga, who has also written its lead essay, and available in both English and Spanish.

Ramón Cano Manilla Indian Woman from Oaxaca (India oaxaqueña), 1928 Oil on canvas Overall: 58.5 x 39 in. (149 x 99.5 cm) Museo Nacional de Arte, INBA, Mexico City Constituent holdings, 1982 © Courtesy of El Instituto Nacional de Bellas Artes Y Literatura, 2017

Ramón Cano Manilla
Indian Woman from Oaxaca (India oaxaqueña), 1928
Oil on canvas
Overall: 58.5 x 39 in. (149 x 99.5 cm)
Museo Nacional de Arte, INBA, Mexico City Constituent holdings, 1982
© Courtesy of El Instituto Nacional de Bellas Artes Y Literatura, 2017

 

Prime Real Estate

 

It took noted art collector Edmund de Unger over five decades to comprise one of the world’s most geographically and historically comprehensive collections of Islamic art. This April, the DMA will once again showcase these remarkable treasures, the largest public presentation in the Collection’s history, in a new long term installation. The Keir Collection of Islamic Art Gallery will highlight particular strengths within the Collection, from luster pottery and rock crystals to rare manuscripts and painted miniatures of exquisite beauty. The gallery will be located at the very heart of the Museum, in the DMA’s concourse. “By situating the gallery of this important collection of masterworks in a prime location on the Museum’s first level, the DMA is affirming the vitality of Islamic art to its exhibition program and to the art historical canon,” said Sabiha Al Khemir, the DMA’s Senior Advisor for Islamic Art. The Keir Collection came to the DMA on a long-term loan agreement with the trustees of the Keir Collection that was finalized in 2014, transforming the Museum into the third largest repository of Islamic art in the US.

Khamsa of Nizami c. 1585–1590, Mughal Work on paper Overall: 2 3/4 × 5 3/8 × 7 7/8 in. (6.99 × 13.65 × 20 cm) The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.18

Khamsa of Nizami
c. 1585–1590, Mughal
Work on paper
Overall: 2 3/4 × 5 3/8 × 7 7/8 in. (6.99 × 13.65 × 20 cm)
The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.18

 

Reports from the Dallas Museum of Art

José Clemente Orozco The “Soldaderas” (Las soldaderas), 1926 Oil on canvas Overall: 31 x 37.5 in. (81 x 95.5 cm) Museo de Arte Moderno, INBA © 2017 Artists Rights Society (ARS), New York / SOMAAP, Mexico City

José Clemente Orozco
The “Soldaderas” (Las soldaderas), 1926
Oil on canvas
Overall: 31 x 37.5 in. (81 x 95.5 cm)
Museo de Arte Moderno, INBA
© 2017 Artists Rights Society (ARS), New York / SOMAAP, Mexico City

 

México 1900–1950 Highlights New Narratives in Mexico’s Modern Art History

It’s a happy new year. This month the DMA issued its press release publicly announcing the exciting addition of México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde to the Museum’s exhibition schedule. The exhibition, curated by Dr. Agustín Arteaga, opened at the Grand Palais in Paris this past October, where it has received great public and critical acclaim. México 1900–1950 offers a renewed vision of Mexican art from the first half of the 20th century through a faithful account of the ambitious spirit of this major period of national artistic history. The impact of cultural activity in Mexico from the end of the long civil war (the Mexican revolt of 1910–20) until the beginning of the 1950s was indeed a singular phenomenon and can be seen in the works presented in México 1900–1950.
The exhibition, with the DMA serving as the only North American venue and the only venue outside of Paris, has already received tremendous support from the DMA community in the brief weeks since its inclusion in the DMA lineup of exhibitions this spring, and the DMA looks forward to inviting our community to discover more of the fabric of Mexico’s art history beginning March 12.

 

 

Courtesy of Dallas Museum of Art

Courtesy of Dallas Museum of Art

Dr. Chu Comes to Dallas

On November 29, NEA Chairman Jane Chu visited Dallas as the featured speaker for the Dallas Arts District Community Breakfast. Afterwards, she visited the DMA with Gary Gibbs, Executive Director of the Texas Commission on the Arts, for a tour led by Agustín Arteaga of the Conservation Studio and the African and Contemporary Art galleries, with senior curators Dr. Roslyn A. Walker, Senior Curator of the Arts of Africa, the Americas, and the Pacific and The Margaret McDermott Curator of African Art at the Dallas Museum of Art, and Gavin Delahunty, The Hoffman Family Senior Curator of Contemporary Art, offering commentary. Her visit ended with a presentation by Amanda Blake, Interim Director of Education and Head of Family, Access, and School Experiences, and Ingrid Van Haastrecht, Director of Development Operations and Analysis, on the progress of the NEA grant the DMA received to conduct an evaluation of the South Dallas community and how they engage with the Museum. Dr. Chu’s visit was chronicled the following day in this article in the Dallas Morning News.

 

 

Mark Leonard, Courtesy of Dallas Museum of Art

Mark Leonard, Courtesy of Dallas Museum of Art

Parting is Such Sweet Sorrow

After four and a half groundbreaking years at the DMA, Mark Leonard, the Museum’s first Chief Conservator, will be retiring—for the second time—to the sun-drenched California desert. Leonard stepped down in 2010 as the Head of the Paintings Conservation Department at the J. Paul Getty Museum to pursue his career as an artist. His DMA appointment in 2012 signaled the initial phase of the development of the Museum’s conservation program, which included the addition of staff and the renovation of its on-site spaces to include a paintings conservation studio.

While at the DMA, Leonard carefully stewarded the collection and built a robust and comprehensive conservation program. He was responsible for carrying out major treatments on over 60 works of art, restoring a range of works, from a rare early Renaissance Spanish panel painting, to Jacques Blanchard’s 17th-century oil painting Zeus and Semele, to a work by Texas artist Julian Onderdonk that had been confined to storage for decades because of its poor state of preservation. Leonard also collaborated with private collectors on the study and care of their collections in order to present the work in the Museum galleries for all to see.

Under Leonard’s direction, the DMA also established a network of regional conservation partnerships with museums in North Texas and local universities to collaborate on conservation research and the study of individual works. Although he will surely be missed, the impact of his time at the DMA will not soon be forgotten—and evidence of it will continue to be seen throughout our institution.

 

Reports from the Dallas Museum of Art

DMA_Logo_Print_CMYK_2Color

 

Image credit: © Carnegie Museum of Art, Pittsburgh. Photo Bryan Conley

© Carnegie Museum of Art, Pittsburgh. Photo Bryan Conley

Curatorial Growth

This January, the DMA will welcome Dr. Anna Katherine Brodbeck as the new Nancy and Tim Hanley Assistant Curator of Contemporary Art at the Dallas Museum of Art. Brodeck will join the Museum from the Carnegie Museum of Art, in Pittsburgh, PA, where she has worked since 2013 as an Associate Curator, serving as the coordinator between the Carnegie Museum of Art, the Art Institute of Chicago, and the Whitney Museum of American Art on the organization of the first comprehensive US retrospective of the influential Brazilian artist Hélio Oiticica. A Ph.D. in art history, Brodbeck brings to the DMA an extensive knowledge of modern and contemporary art and will work closely with Gavin Delahunty, the Museum’s Hoffman Family Senior Curator of Contemporary Art on the Concentrations series, focused on international emerging artists and also on strengthening relationships with local artists.

 

DMA ALL Rothschild © Harry Cory Wright

© Harry Cory Wright

Open Book

The DMA is quickly wrapping up their 25th anniversary season of the Museum’s literary and performing art series, Arts & Letters Live. On November 15, Dr. Nicole R. Myers, The Lillian and James H. Clark Curator of Painting and Sculpture, DMA, will lead a tour of the Museum’s 18th-Century French art tied to author Hannah Rothschild’s appearance that same evening. The first woman chair of the National Gallery in London and a trustee of the Tate Gallery, Hannah Rothschild has been part of the art world for her entire life. Her family has an extensive collection, and she made several films about the art world, among other subjects, during a long career as a documentary filmmaker with the BBC. She will be discussing her debut novel, The Improbability of Love, which takes the reader behind the scenes of a London auction house, into the secret operations of a powerful art dealer, to a flamboyant 18th-century-style dinner party, and more.

 

Martini glass, c. 2001, Valeri Timofeev, designer, silver gilt, plique-à-jour enamel, enamel, unidentified hardstone, Dallas Museum of Art, Discretionary Decorative Arts Fund, 2014.21

Martini glass, c. 2001, Valeri Timofeev, designer, silver gilt, plique-à-jour enamel, enamel, unidentified hardstone, Dallas Museum of Art, Discretionary Decorative Arts Fund, 2014.21

Toast of the Town

November marks the opening of the DMA’s focus exhibition Shaken, Stirred, Styled: The Art of the Cocktail. The exhibition features nearly sixty works predominantly from the DMA’s extensive design holdings, many of which are on view for the first time, and explores the culture of cocktails and the wares in which they were prepared and served. The exhibition follows the development of the modern cocktail from the late 19th century to the present day, tracing the stylistic reflections of the rituals of the cocktail’s concoction, presentation, and consumption through metalware, glassware, and ceramics. Featuring a range of objects, many of which are on view for the first time, Shaken, Stirred, Styled includes 19th-century punch bowls, early 20th-century liquor decanters and glasses, Prohibition-era cocktail shakers, and Art Deco and modern barware.

Image credit: Martini glass, c. 2001, Valeri Timofeev, designer, silver gilt, plique-à-jour enamel, enamel, unidentified hardstone, Dallas Museum of Art, Discretionary Decorative Arts Fund, 2014.21

 

Reports from the Dallas Museum of Art

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Photo credit Paloma Torres

Photo credit Paloma Torres

Welcome Agustín Arteaga

In July, the DMA announced the exciting appointment of the Museum’s new Eugene McDermott Director, Agustín Arteaga. Arteaga, who officially joined the Museum in September, most recently served as director at the Museo Nacional de Arte (MUNAL) in Mexico City, one of Mexico’s largest and most prominent cultural institutions, presenting work from the mid-16th through the mid-20th centuries. Prior to his tenure at MUNAL, Arteaga was the director of the Museo de Arte de Ponce (MAP) in Puerto Rico and the founding director of the contemporary art museum Museo de Arte Latinoamericano de Buenos Aires (MALBA) Fundación Costantini in Argentina. Arteaga has organized more than one hundred exhibitions over the course of his career, including major monographic presentations of Andy Warhol, Roy Lichtenstein, and Diego Rivera; survey exhibitions of French Impressionism and old master works; and thematic exhibitions that have stretched across centuries and cultures. Born in Mexico City, Arteaga received an MA (1999) and PhD (2006) from Universidad Nacional Autonoma de Mexico (UNAM) and a BS in architecture (1980) from Universidad Autonoma Metropolitana, both in Mexico City.

Diviners headdress (nkaka), Tabwa peoples, mid–20th century, Democratic Republic of the Congo, Africa, leather, fiber, beads, and feathers, Dallas Museum of Art, gift of The Cecil and Ida Green Foundation 1999.62

Diviners headdress (nkaka), Tabwa peoples, mid–20th century, Democratic Republic of the Congo, Africa, leather, fiber, beads, and feathers, Dallas Museum of Art, gift of The Cecil and Ida Green Foundation 1999.62

Bead It

Dr. Richard Brettell and Dr. Roslyn A. Walker, the DMA’s Senior Curator of the Arts of Africa, the Americas, and the Pacific and The Margaret McDermott Curator of African Art, with assistance from her colleague Dr. Kimberly Jones, The Ellen and Harry S. Parker III Assistant Curator of the Arts of the Americas, collaborated on the art installation in the Institute’s DMA Research Center vitrine. The idea for the installation stems from the extraordinary gift by Dallas jewelry designer Velma Davis Dozier (1901–1988) of thousands of trade beads to the Museum. The beads have their origins in Europe but were traded in Africa, the Americas, Asia, and the Pacific. The historic objects on view convey the geographic breadth of such “trade beads,” along with the continued abundance of commercial beads today. The beaded objects from the DMA’s collection range from the mid-19th century through the 20th century. Selected by Dr. Walker, these wearable artworks come from Indonesia, Africa, South and North America. They represent the impact of European traders across other continents of the world.

 

Flora and Fauna

In December, the DMA will present Art and Nature in the Middle Ages, an exhibition featuring extraordinary works of art from the 12th through the 16th century that emphasize the vital union between humans and nature. The exhibition, organized by the Musée de Cluny, musée national du Moyen Âge, Paris, and on view exclusively in the U.S. at the DMA, is composed of more than one hundred objects reflecting the wide range of styles, techniques, and iconography that flourished during this period. Accompanying the exhibition is a publication featuring thematic essays available for the first time in English and a fully illustrated checklist. Edited by Dr. Nicole R. Myers, the DMA’s Lillian and James H. Clark Curator of European Painting and Sculpture, the catalogue celebrates nature’s constant presence in the immediate environment and spiritual life of men and women in the Middle Ages.

Scene of chivalry from the Seigniorial Life tapestry cycle, Southern Netherlands, c. 1510–1520, wool and silk, Musée de Cluny, musée national du Moyen Âge, Paris, CL 2179 Photo © RMN-Grand Palais (musée de Cluny - musée national du Moyen-Âge) / Franck Raux

Scene of chivalry from the Seigniorial Life tapestry cycle, Southern Netherlands, c. 1510–1520, wool and silk, Musée de Cluny, musée national du Moyen Âge, Paris, CL 2179 Photo © RMN-Grand Palais (musée de Cluny – musée national du Moyen-Âge) / Franck Raux

 

Across the Pond

The Museum’s The Seine at Lavacourt by Claude Monet is currently on a brief European tour. The painting is part of an exhibition exploring the work of Charles-Francois Daubigny and his influence on French landscape painting, with a focus on the work of Daubigny, Monet, and van Gogh. Monet’s 1880 water landscape is on view at the Scottish National Gallery through early October as part of the Inspiring Impressionism: Daubigny, Monet, Van Gogh before traveling to the Van Gogh Museum in late October. The painting will return to the DMA following the final presentation in Amsterdam in late January 2017.

Claude Monet, The Seine at Lavacourt, 1880, oil on canvas, Dallas Museum of Art, Munger Fund 1938.4.M

Claude Monet, The Seine at Lavacourt, 1880, oil on canvas, Dallas Museum of Art, Munger Fund 1938.4.M

 

On View at the DMA This Fall

Nicolas Party: Pathway
Through February 12, 2017
Concourse
DMA organized; exclusively at the DMA

Concentrations 60: Lucie Stahl
September 16, 2016–March 12, 2017
Hoffman Galleries
DMA organized; exclusively at the DMA

Waxed: Batik from Java
September 25, 2016–September 10, 2017
Level 3
DMA organized; exclusively at the DMA

Divine Felines: Cats of Ancient Egypt
October 9, 2016–January 8, 2017
Chilton Gallery I

Shaken, Stirred, Styled: The Art of the Cocktail
November 18, 2016–November 12, 2017
Focus Gallery II
DMA organized; exclusively at the DMA

Art and Nature in the Middle Ages
December 4, 2016–March 19, 2017
Chilton Gallery II
U.S. exclusive venue

UTA Art Historian Mary Vaccaro Scholar Report

During Spring of 2016, Mary Vaccaro gave two invited lectures based on her longstanding interest in the art of sixteenth-century Parma.  In March 2016, she presented a talk titled “Splendore del disegno a Parma” as part of a lecture series held in conjunction with the exhibition Correggio e Parmigianino, Arte a Parma nel Cinquecento, at the Scuderie del Quirinale, Rome.

Vaccaro_Correggio

She also contributed an essay on Correggio (“Correggio’s restless invention”) to the related catalogue.

In May 2016, she presented a talk titled “San Giovanni Evangelista a Parma: Parmigianino e la scuola del Correggio” at an international conference on Benedictine patronage that took place in Modena, sponsored by the Centro Studi Abbazia Benedettina di Modena in collaboration with the University of Texas at Arlington.

An article on the Carracci (a more recent research interest of hers) saw publication in the Summer 2016 issue of Master Drawings: “Two Red Chalk Drawings in the Uffizi by Agostino (not Annibale) Carracci.”

The Meadows Museum at SMU to host Zurbarán Masterworks in 2017

Zurbarán Paintings as installed in Auckland Castle

Zurbarán Paintings as installed in Auckland Castle

The Meadows Museum at SMU announces a touring exhibition of life-size paintings by the Spanish Golden Age master Francisco de Zurbarán (1598–1664), on loan from Auckland Castle in England. Proposed by the Meadows—in collaboration with The Frick Collection, the Kimbell Art Museum, and the Auckland Castle Trust—the project includes an analysis of the paintings at the Kimbell’s noted conservation lab, as well as a scholarly publication about the unique history of this series, the most significant public collection of the artist’s work outside of Spain. The exhibition marks the first time these works will travel to the United States, and will premiere at the Meadows in September 2017, followed by a presentation at The Frick Collection beginning in January 2018.

For the full release visit here.

UNT Presents: Conversations: Art, Politics and North Texas

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This fall, the College of Visual Arts and Design launches Conversations: Art, Politics and North Texas, a series organized by art historians Lauren Cross and Jennifer Way, featuring five North Texas artists/scholars who work at the intersections of art, politics, cultural equity, and history. Each invited artist/scholar will engage in a discussion about their socially engaged work as it relates to urban contexts, civic institutions, culture, and history within various cities in North Texas.  While grounded in our region, the Conversations series will give participants and their audience an opportunity to consider local art politics in comparison with other regions or the nation.

Additionally, each artist/scholar in the series will illustrate what counts as politics, including implications behind the pushback and the accessibility of opportunities for artists/scholars attempting to create cultural equity in their local art communities.  Each conversation will take place on a Thursday evening between 6:00-7:30 pm in Art Room 101 located in the Art Building on the University of North Texas Denton campus.

  • September 29– Christopher Blay, Artist and Curator at Art Corridor II at TCC Southeast Campus
  • October 27– Lauren Woods, Multimedia Artist and Visiting Assistant Professor SMU (UNT alumni)
  • February 2– Sara-Jayne Parsons, Curator TCU Art Galleries, and Giovanni Valderas, Assistant Director of Kirk Hopper Fine Art and Vice Chairman of Cultural Affairs Commission for the City of Dallas Office of Cultural Affairs
  • March 2– Darryl Ratcliff, Artist, Co-Founder of Ash Studios and Michelada Think Tank Center, and City of Dallas’ Office of Cultural Affairs.

 

UNT Art Historian Jennifer Way Scholar Report

In relation to her current book project, Jennifer Way (UNT) is presenting “Politics of American Diplomacy/Politics of Craft” at the 34th International Congress of Art History, Beijing. Recent publications related to her project include serving as guest editor for “Contemporary Asian Craft Worlds,” a special issue of Journal of Modern Craft, with Rebecca M. Brown, and publishing “Rooted to and Routed from the Nation: Craft, Modernity and South Vietnam, 1956-61,” American Studies Eurasian Perspective 1 no 2 (2016): 73-86; “The Liminal Collection: Vietnamese Handicraft at the Smithsonian,” Verge: Studies in Global Asias, Collecting Asias, Special Issue edited by Charlotte Eubanks and Jonathan Abe 1 no. 2 (2015): 115-135, and “Cold War Cultural Imperialism,” Early Cold War section, 1946–54, Volume 4, in Imperialism and Expansionism in American History: A Social, Political, and Cultural Encyclopedia and Document Collection edited by Chris J. Magoc and C. David Bernstein (ABC-Clio Press, 2015): 1082-1084. Way’s fall seminar looks at how we narrate objects, with emphasis on craft and decorative arts, across histories of modernisms in their geographic and historical pluralities. This fall also sees the ninth year of her Collections Cultures and Collaborations series, which charges art history methods students with researching the collections of regional art institutions, either for subsequent exhibition or public presentations. Additionally, the coming semester is the second time her students will teach art history to far away communities online through the Virtual Senior Center based in New York.