Category: Vol 2 Issue 2

Report of the Director

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

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



For an institution just a little less than three years old, we have a lot to be proud of. The O’Donnell Institute has used its funds to inject new life into Dallas-Fort Worth’s art history world, and our joint programs with the Meadows Museum, the Dallas Museum of Art, the Crow Collection, and the Amon Carter Museum, as well as our series of Workshop Talks, have created a true discourse of art history in the Metroplex. Our skeletal staff has worked incredibly hard, and by this time next year we will welcome our first class of Art History MA students and will be well on the way to the first Art History PhD program at UT Dallas. 


What is most gratifying is the number of PhD dissertations in the existing program in Aesthetic Studies that have been completed since the O’Donnell Institute was formed. Last year, Monica Salazar’s dissertation, Death and the Invisible Hand: Contemporary Mexican Art, 1988-Present, was recognized as the finest dissertation in the university. Melinda McVay completed a dissertation on art museum installations by modernist architects John Yeon, A. James Speyer, and Lina Bo Bardi. In just a few weeks Elizabeth Ranieri will defend her dissertation on the architectural and artistic patronage of San Domenico Maggiore in Naples. Together, our students’ dissertations have already made a significant contribution to the field.


With newly formed institutes affiliated with the O’Donnell Institute in Naples (with the Museo di Capodimonte) and Nanjing (with the Institute of Art at the University of Nanjing), we have dipped our toe into global art history and have taken on the solemn task of training Chinese art historians in the histories of American Art. Three Chinese art historians will spend a good portion of 2017-18 traveling throughout the heartland of the United States to visit museums, universities, and research libraries–all funded jointly by the Amon Carter Museum, the O’Donnell Institute, the Terra Foundation for American Art, and the University of Nanjing. 


Next academic year, our ranks will be enriched by a year-long visit of Dr. Suzanne Preston Blier, the Allen Whitehill Clowes Professor of Fine Arts and of African and African American Studies at Harvard University, who will be working on her book on African global trade and working with her colleagues at the DMA and with our own graduate student Edleeca Thomson to set the superb collections of African art at the DMA, the Kimbell, and the little-known collection at the University of Texas at Arlington in a global context. We will also have eminent Chinese art historian Dr. Zhou Xian of the University of Nanjing in our midst for the Fall term. 


Our ATEC colleague Dr. Maximilian Schich will be on leave next year, completing an ambitious book on digital aspects of cultural analysis and art history in his native Munich at the Zentralinstitut für Kunstgeschichte. Already, the Director of that important art history think-tank has visited our Institute, and we are actively pursuing partnerships with our colleagues in that great center of collecting and scholarship. 


If it sounds a little breathless, IT IS. But that is only the tip of an iceberg of important announcements that will come in the Fall of this year.


Richard R. Brettell, Ph.D.

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

Greetings from the Assistant Director

Lectures, symposia, and study days are the intellectual oxygen of the O’Donnell Institute, and a chance to bring together the scholarly community from Dallas and Fort Worth and farther afield. At the end of February we enjoyed the success of our Spring symposium, Artists’ Writings on Materials and Techniques, held over the course of two days at UT Dallas, the Dallas Museum of Art, and the Nasher Sculpture Center.

In presentations and conversations ranging from the fifteenth century to the present, participants investigated intersections (and disconnects) between artists’ visual and textual practices. Along with scholars from the O’Donnell Institute, Southern Methodist University, and the Nasher, presenters included honored guests James Meyer from the National Gallery of Art and Carol Mancusi-Ungaro from The Whitney Museum of American Art.

Naples V


We were particularly pleased to have the participation of many conservators from private and institutional studios in Dallas and Fort Worth, as well as from the Harry Ransom Center in Austin and the Getty Conservation Institute in Los Angeles. The theme of the conference proved to be one around which academic art historians, museum curators, conservators, and conservation scientists could come together in productive conversation. On the strength of the Institute’s conservation science initiative, we will continue to present programs like this that bring together colleagues from the academy, the museum, the studio, and the laboratory.


I continue my work to spearhead a new partnership with the Museo e Real Bosco di Capodimonte in Naples. In October the O’Donnell Institute and the Capodimonte will present a first annual symposium in Naples, with two days of gallery talks and site visits that will set Naples and the Capodimonte in a global context. The symposium will launch the new Center for the Art History of Port Cities (Centro per la Storia dell’Arte delle Città Portuali).


Naples III


Based in the Capraia, an 18th-century structure on the grounds of the royal bosco, the Center will open its doors in Fall 2018 and will be dedicated to on-site study of art and architecture in Naples and to the incubation and dissemination of new research, with special emphasis on the cultural histories of port cities, the mobilities of artworks, and processes of circulation, encounter, and exchange. Programs at the Capraia will include research residencies, an annual symposium, and an open-access digital publication.


Naples II


Together these three program streams will support scholarly access to Naples, foster new research on Naples and on other port cities, create a collaborative network of students and scholars working on related projects, and communicate new research to the academic and museum communities and the general public. I am thrilled to be working in my beloved Naples with wonderfully open and creative colleagues at the Capodimonte, and I look forward to keeping our O’Donnell Institute friends and colleagues apprised of our progress.

Dr. Sarah Kozlowski

Assistant Director

The Edith O’Donnell Institute of Art History

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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 ( for more information.

Art of Examination Spring 2017 Course at UT Southwestern Medical School

Medical students in the UT Southwestern – UT Dallas course Art of Examination are on the go this semester learning how to look at art using the collections of Dallas’s premier art collections. Classes having been taking place between The Dallas Museum of Art, The Warehouse, Nasher Sculpture Center, The Crow Collection of Asian Art, and Clements Hospital. Lessons address mindfulness, collaboration, and interpretation with exercises on slowing down to spend time looking at works of art, looking and communicating as a team, and creating multiple interpretations to generate new ideas.

Art of Examination students practice close looking at The Warehouse

Art of Examination students practice close looking at The Warehouse


Mindfulness in action in the Art of Examination medical school course

Mindfulness in action in the Art of Examination medical school course

The Art of Examination is a preclinical elective focusing on developing skills for clinical diagnosis through looking at works of art. Through experiences with artworks, students in the course improve visual literacy skills, which are the ability to observe, analyze, interpret, and make meaning from information presented in the form of an image and relates to both examining patients as well as artworks. The course uses the power of art to promote the analysis and communication necessary in addressing ambiguity in the physical exam and patient interaction.

The Art of Examination is taught by Bonnie Pitman, Distinguished Scholar in Residence, Edith O’Donnell Institute of Art History, UT Dallas; Heather Wickless, MD, Assistant Professor of Dermatology, UTSW; Amanda Blake, Interim Director of Education, Dallas Museum of Art; and Courtney Crothers, UTSW Art Curator.

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


Emblem I. A Conversation. Conviction and persuasion are not called for in a dialogue. This discord may be fatal but it is not serious. The fingers point, the coffee is strong and hot, the skull session continues. (2015) (Monoprint, acrylic on paper, 22 x 27 inches)

Emblem I. A Conversation. Conviction and persuasion are not called for in a dialogue. This discord may be fatal but it is not serious. The fingers point, the coffee is strong and hot, the skull session continues. (2015) (Monoprint, acrylic on paper, 22 x 27 inches)


We’ve had an exciting spring semester of workshops at the EODIAH Research Center. A diverse range of topics were presented including Ethiopian manuscript painting, museum exhibition design, and the impact of water mixable oils (WMOs) on current art conservation practice. The semester will conclude with two workshops at the EODIAH Research Center. On April 18 SMU Professor of Art Dr. Michael Corris will present his new publication, Leaving Skull City: The Afterlife of (Some) Conceptual Art, “a compilation of insightful, first-hand accounts of art making, art criticism, and exhibition organizing from the early-1970s to the present.” EODIAH fellow and newly minted Ph.D. Dr. Joseph Hartman will present his research at our final workshop of the semester on April 25,Cuba Incarcerated: The Historic Vision of Cuban Prison Architecture. The Research Center continues to be a hive of scholarly activity and a space in which to display artworks.

Curated by our own Dr. Sabiha Al Khemir, the third vitrine installation showcases beautiful lusterware ceramics from the Keir Collection. The collection of objects tells the story of the revolutionary technique of luster painting with examples from Iraq, Iran, and Egypt. Come by and view our ‘sneak peek’ of Islamic lusterware before the next installation of Keir objects at the DMA opens April 18 in the Focus I Gallery.

Be sure to visit the EODIAH Programs page on our website this summer to view our Fall 2017 events!

Lauren LaRocca

Coordinator of Special Programs

The Edith O’Donnell Institute of Art History

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.



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

More from UTD’s press release.

Call for Proposals: Naples and the Museo e Real Bosco di Capodimonte in a Global Context

Symposium: Naples and the Museo e Real Bosco di Capodimonte in a Global Context

Naples, October 12-14, 2017




One of the world’s oldest cultural centers and one of the largest ports in Europe, the city of Naples is a node in a cultural and economic network that spans the Mediterranean and beyond. The story of art in Naples is one of encounter and exchange, of rupture and unexpected convergence. It is above all a story of movement: of people, artworks, and forms, of technologies, traditions, and ideas. Naples thus challenges us to envision a new history of art that ranges across geography, chronology, and medium. Art in Naples has long been marginalized or misunderstood. Instead, we take Naples as a laboratory for new art historical research with global implications.

To launch a new collaboration between the Edith O’Donnell Institute of Art History and the Museo e Real Bosco di Capodimonte dedicated to innovative research on art in Naples and on the cultural histories of port cities, this symposium brings together an international group of scholars for two days of on-site presentations that will set Naples and the Capodimonte in a global context.


After a public keynote lecture and celebratory reception on the evening of Thursday, October 12, a group of around 30 scholars will spend the next two days participating in a series of presentations in the form of gallery talks and site visits that will focus on individual artworks in the Capodimonte collections and on sites within its surrounding gardens. Each presentation will be followed by discussion. Moderated roundtables and shared meals will provide further opportunities for participants to respond to each other’s presentations and to engage with broader themes.


We invite scholars at all professional stages (including advanced graduate students) to propose 20-minute presentations that focus either on individual artworks at the Capodimonte or on specific sites in the Bosco. Through these individual objects and sites, presentations should open onto larger questions related to Naples and the Capodimonte in a global context: for example, the formation of the Capodimonte’s collections and gardens, the cultural history of Naples as a port city, the mobility of objects and people, and processes of circulation, encounter, and exchange. Presentations may be made in Italian or English.


To propose a presentation on a specific artwork or site at the Capodimonte, please submit via email attachment a proposal of under 350 words and a short CV to Elizabeth Ranieri, The Edith O’Donnell Institute of Art History (, by April 24, 2017. Proposals will be reviewed by collaborators at the O’Donnell Institute and the Capodimonte. A certain number of presenters not based in Naples will be offered a small grant to contribute toward the cost of travel.

Sarah Kozlowski: Toward a History of the Trecento Diptych

EODIAH Assistant Director Sarah Kozlowski’s article “Toward a History of the Trecento Diptych: Format, Materiality, and Mobility in a Corpus of Diptychs from Angevin Naples” will appear in 2018 in Zeitschrift für Kunstgeschichte. Laying the groundwork for a larger project, the essay brings together for the first time a working corpus of diptychs connected with the Angevin court in Naples in the later thirteenth and fourteenth centuries. The corpus comprises both surviving diptychs and diptychs now lost but recorded in inventories. Thus assembled, this body of material reveals that diptychs were commissioned and collected in significant numbers at the Neapolitan court, in a range of sizes, mediums, and subjects, and were produced by workshops linked not only to Naples but also to central Italy, Genoa, and the eastern Mediterranean. In turn, diptychs in Naples raise larger questions about the histories, materialities, and meanings of the format in the thirteenth and fourteenth centuries in Europe and the Mediterranean. Above all, the objects brought together here press us to set diptychs in motion as participants in networks of artworks, artists, and patrons on the move throughout the Mediterranean.

EODIAH Fellows Update

We are proud to announce that three of our EODIAH Fellows received their doctorates last Fall with dissertations on museum education, contemporary Mexican art, and nineteenth-century French drawings. We expect to graduate two more Fellows at the end of the Spring!


Rebecca Becker Daniels


American art museums have conceived of themselves as educational institutions for their largely urban publics and have invested space, time, effort, and money to fulfill their educational missions. Twenty-first century museums seek to engage the public, yet attendance is trending down and museum audiences reflect only a small portion of the increasingly diverse American public. In response, some museums offer programs specifically for teenagers, many who live in previously underserved neighborhoods. This dissertation is a qualitative, phenomenological study of nine such programs in five American cities, which ascertains the characteristics of these programs, analyzes the transformative influence of technology, and evaluates how engagement with art can benefit teens, the museum, and the surrounding urban community. I rely on the historical context of museum education, the developmental milestones that occur during the teen years, and educational theories about digital technology to connect the capabilities and limitations of teens to their experiences in art museums. In addition, I situate each museum within the urban conditions of its city and investigate the role of the museum as a physical and social place in a digital age. I propose three characteristics that demonstrate quality teen programming and support each characteristic with anecdotes gleaned from observations and interviews. First, the program mutually benefits both the museum and the teenagers. Second, the program actively keys into networks both inside and extending beyond their own museum. Third, the program embraces technology and reimagines new ways to interact with art. Results of this study demonstrate that the best gauge of teen programs’ performance is the balance of three intersecting components: the art and architecture that create place, the digital technology that pervades teens’ lives, and the interpersonal relationships that these programs generate. A richer understanding of teen programming will aid in the development of twenty-first century museums that are a vital part of public life, benefitting their own institutions, their participants, and the surrounding urban community.


Debra J. DeWitte



This project delves into the study of works on paper (pastels, watercolors, charcoals, and drawings) that were exhibited in Paris between 1860 and 1890. The exhibition of drawings during these years has not previously been analyzed from a macro level largely because the resources were not available to do so. Instead, art historians have more often focused on individuals or small groups of artists, and from these findings, have made inferences about the art world as a whole. However, of the thousands of artists who exhibited drawings in the Salon during this period, art historians would be challenged today to recognize even 5% of their names. Through a revelation of the exhibitors of drawings during these years, there is considerable evidence of successful nineteenth-century artists that are not known or studied today. Thus, this project also aims to demonstrate the efficacy of data analysis in the field of art history. Case studies include state-funded exhibitions, such as the World’s Fairs held in Paris and the Paris Salon, and exhibitions organized by dealers and artist societies, such as Société des aquarellistes français, Société des pastellistes français, and the Impressionists. By comparing private exhibitions orchestrated by dealers and artist societies with state-sponsored exhibition strategies, the importance of works on paper as objects to promote artists is better established. This dissertation also continues the conversation among scholars about the degree to which groups like the Impressionists were dissimilar from traditional artists presented at the Salon.


Monica Salazar


Monica Salazar’s dissertation is about the presence of death in contemporary Mexican art, specifically the ways in which it transforms an ancient tradition while reflecting the sociopolitical changes brought about by the neoliberal policies that were put into place during the presidency of Carlos Salinas de Gortari (1988–1994). It studies the relationship between the narrative of death representations in Mexican art; the economic and sociopolitical turmoil of the 1990s; and the presence of death in the works of prominent contemporary Mexican artists—among them Teresa Margolles, María García-Ibañez, Gabriel de la Mora, Lenin Márquez Salazar, and Gonzalo García—in order to argue that their work not only transforms the national tradition of death to which it belongs, but also responds to the unprecedented changes imposed by neoliberalism. Her dissertation also argues that the current crisis of place—an overarching anxiety over the physical territory of the country (which is threatened by neoliberalism)—has a strong presence in contemporary Mexican art, and is evident in its treatment of the national symbol of death. It demonstrates how the ending of decades of land distribution that were crucial in the construction of a national identity bound to the land, where the bones of its ancestors lay, was the catalyst for new kinds of death representations that appeal to the senses, the emotions, and universal ideas. Through the study of a selection of artworks of contemporary Mexican artists who sharply interrogate the idea of death in Mexico, this project shows how the death imagery that started to appear in the art of the 1990s marks a radical break from the traditional symbolism of the nationalistic imagery started by José Guadalupe Posada and Diego Rivera, reflecting no less than a reinvention of the national identity in the face of globalization.

Joseph R. Hartman Joins University of Missouri as Assistant Professor this Fall

Joseph R. Hartman, EODIAH fellow 2016-2017, will be joining the University of Missouri – Kansas City (UMKC) as a tenure-track Assistant Professor of Latina/o Studies and Art History this Fall. Hartman will work with a team of distinguished scholars in both fields, contributing to the growth of the Latina/o Studies and Art History programs at UMKC through community outreach with the Latinx community and collaborations with the Nelson-Atkins Museum and other centers for Latinx advocacy in Kansas City. In addition to teaching, Hartman will continue research on Cuba, U.S. Imperialism, and the aftereffect of U.S. interventions in Latin America among immigrant communities today. In a crowded and competitive job market, Hartman feels very fortunate to be given this opportunity; and he is especially grateful to colleagues and mentors at EODIAH, SMU, UNT, and the wider community of art historians in North Texas that have made this possible.

Joseph R. Hartman: Alternate Revolutions: Reexamining Cuban Art History beyond 1959

EODIAH Research Fellow Joseph R. Hartman presented his work on the panel “Alternate Revolutions: Reexamining Cuban Art History beyond 1959” organized by Abigail McEwen and Susanna Temkin with discussant Rachel Weiss for the College Arts Association 105th annual conference held in New York, NY (February 15-18). Hartman presented his work “Revolutions, Repetitions, and Prison Architecture in Machado’s Cuba, 1925–33.” His talk reexamined the formal qualities of modern prison architecture in Cuba and its relationship to the nation’s history of plantation slavery.

Hartman, Cuban Art History

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


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.


Reports from the Dallas Museum of Art


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


On View at The Dallas Museum of Art

México 1900–1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde

March 12-July 16, 2017

Tower Gallery and Chilton I

DMA Organized; U.S. Exclusive Venue


Young Masters 2017

Through April 16, 2017



The Keir Collection of Islamic Art Gallery

Opening April 18, 2017

Focus I Gallery


Daumier’s Political and Social Satire

Through April 23, 2017

Level 2

DMA Organized; Exclusively at the DMA


Iris van Herpen: Transforming Fashion
May 21–August 20, 2017

Chilton II


Visions of America: Three Centuries of American Prints from the National Gallery of Art
May 28–September 4, 2017

Chilton II


Waxed: Batik from Java

Through September 10, 2017

Level 3

DMA Organized; Exclusively at the DMA


Shaken, Stirred, Styled: The Art of the Cocktail

Through November 12, 2017

Focus II

DMA Organized; Exclusively at the DMA

Meadows Museum Exhibitions, Events, & Upcoming Lectures

Meadows 2017 Exhibition Between Heaven and Hell


Between Heaven and Hell: The Drawings of Jusepe de Ribera

Mar. 12-Jun. 11, 2017


Picasso’s Dream and Lie of Franco: The Spanish Civil War in Print

Apr. 2-Jul. 2, 2017



Lecture: Ribera and the Empire of Resemblances

Apr. 20, 6:00 pm

Todd Olson

Meadows Museum


Gallery Talk: “Disegnare meglio che il Caravaggio:” Ribera’s Drawing Practice in Context

Apr. 28, 12:15 pm

Mary Vaccaro

Meadows Museum


Lecture: The Impact of Titian’s Painterly Technique on Velázquez

May. 5, 6:00 pm

Diane Bodart

Meadows Museum


Lecture Series: The Global Art Community: A 17th Century Phenomenon

Jun. 8-29, 6:00 pm

Nancy Cohen Israel

Meadows Museum


Crow Collection of Asian Art Exhibitions & Programs

Iwasaki Tsuneo (1917-2002) DNA Ink and color on paper Collection of Dr. Paula Arai Courtesy of Dr. Paula Ara

Iwasaki Tsuneo (1917-2002)
Ink and color on paper
Collection of Dr. Paula Arai
Courtesy of Dr. Paula Ara



SAT MAR 11 2017 SUN JUN 11 2017

Wisdom of Compassion: The Art and Science of Iwasaki Tsuneo (1917-2002)

Japanese artist and scientist Iwasaki Tsuneo painted as an act of devotion

SAT FEB 25 2017 SUN JUN 25 2017

Landscape Relativities: The Collaborative Works of Arnold Chang and Michael Cherney

The collaborative works of painter Arnold Chang and photographer Michael Cherney




Breathe: Veterans Art and Wellness Workshop II

Sat Apr 29 2017 10:00 am — 2:00 pm – May

In its second year, the Breathe program at the Crow Collection of Asian Art invites local veterans to take part in five free weekend…


Artist Talk: Henri Scars Struck

Tue May 16 2017 6:00 pm — 8:00 pm

Join Grammy® Award-winning composer and pianist Henri Scars Struck in conversation with Dr. Jacqueline Chao, Curator at the Crow Collection of Asian Art.


Divine Strings: The Sounds of the Mohan Veena and Tabla

Fri May 19 2017 7:00 pm — 9:00 pm

Enjoy an evening with Grammy® Award-winning musician Pandit Vishwa Mohan Bhatt on the Mohan Veena, an instrument he created.


Illustrative Silk Painting with artist Mylan Nguyen

Sun May 28 2017 1:00 pm — 4:00 pm

Explore the art of painting on silk using illustration and watercolor techniques with local artist Mylan Nguyen.


Adventure Asia: Perspective

Sat Jun 03 2017 10:00 am — 2:00 pm

Gain a new perspective with workshops, demonstrations, and art activities all centered around our exhibition, Landscape Relativities: The Collaborative Works of Arnold Chang and Michael Cherney.



Kimbell Art Museum Presents Louis Kahn: The Power of Architecture

Kahn at the Kimbell

Kimbell Art Museum, Fort Worth, Texas; constructed 1969–72 North portico with reflecting pool Louis I. Kahn (1901–1974), architect Photograph: Robert LaPrelle © 2013 Kimbell Art Museum, Fort Worth


Louis Kahn: The Power of Architecture

March 26–June 25, 2017
On view in the Louis Kahn Building


Louis I. Kahn (American, 1901–1974), architect of the Kimbell Art Museum, is regarded as one of the great master builders of the twentieth century. With complex spatial compositions and a choreographic mastery of light, Kahn created buildings of archaic beauty and powerful universal symbolism. In addition to the Kimbell (1966–72), his most important works include the Salk Institute in La Jolla, California (1959–65), and the National Assembly Building in Dhaka, Bangladesh (1962–83). The exhibition Louis Kahn: The Power of Architecture, organized by Vitra Design Museum (Weil am Rhein, Germany), is the first major retrospective of Kahn’s work in two decades.

In addition to The Power of Architecture, the Kimbell Art Musuem is the sole venue for a complementary exhibition, The Color of Light, The Treasury of Shadows: Pastels by Louis I. Kahn from the Collections of His Children. Admission to both special exhibitions is free.

“The Kimbell’s Kahn-designed building is acknowledged the world over as an architectural masterpiece,” commented Eric M. Lee, director of the Kimbell Art Museum. “Visitors who come to this exhibition will get know Kahn, the architect, and follow him on the thrilling journey that led to the vision for the Kimbell Art Museum.”

The exhibition encompasses an unprecedented and diverse range of architectural models, original drawings, photographs and films. All of Kahn’s important projects are extensively documented—from his early urban planning concepts and single-family houses to monumental late works such as the Roosevelt Memorial in New York City (1973/74), posthumously completed in October 2012. The view of Kahn’s architectural oeuvre is augmented by a selection of watercolors, pastels and charcoal drawings created during his travels, which document his skill as an artist and illustrator. Highlights of the exhibition include a 12-foot-high model of the spectacular City Tower designed for Philadelphia (1952–57), as well as previously unpublished film footage shot by Nathanial Kahn, the son of Louis Kahn and director of the film My Architect. Interviews with architects such as Frank Gehry, Renzo Piano, Peter Zumthor and Sou Fujimoto underscore the current significance of Kahn’s work, which is being rediscovered and made accessible to a wide public audience with this exhibition.

A biographical introduction to the exhibition is followed by six thematic sections that illustrate the development of Kahn’s work over time and explore Kahn’s quest for origins: in architecture and art, in the natural sciences, and in the observation of human behavior and society. The first section of the exhibition, entitled City, examines the architect’s relationship to Philadelphia—his adopted home after immigrating to the United States—which became a laboratory for the development of his own urbanistic and architectural principles. Science demonstrates how Kahn studied the structural laws inherent in nature as a means of establishing a foundation for the renewal of architecture. Landscape emphasizes that nature was not only a source of inspiration for Kahn but also increasingly important as a context for his buildings. House illustrates that Kahn’s desire to create a stronger connection between architecture and the surrounding environment also formed the basis of his residential designs; he regarded the house as an archetype and starting point for his understanding of architecture and community. Kahn’s increasing success was accompanied by the evolution of an architecture that was closely linked to the timeless foundations of traditional building, yet radically innovative and future-oriented in terms of technology and construction. The underlying ideal of an Eternal Present resulted from Kahn’s intense engagement with architectural history and archetypical structures, vividly documented in his travel drawings from Italy, Greece and Egypt. The culmination of the exhibition is represented by the section Community, which expresses how essential the social significance of architecture was to Kahn and how he derived new forms for public buildings from it. Taken as a whole, the six themes of the exhibition reveal a new view of Louis Kahn’s oeuvre that defies the common classifications of modernism or postmodernism.

Kahn’s uniqueness lies in his synthesis of the major conceptual traditions of modern architecture—from the École des Beaux-Arts and the constructive rationalism of the 19th century to the Arts and Crafts movement and Bauhaus modernism—enhanced by the consideration of indigenous, non-Western building traditions. Kahn gained important impulses from architectural movements such as metabolism and brutalism. He anticipated aspects of building that are highly relevant today, including a return to local resources and “soft” factors such as air, light and water. He saw himself as part of a tradition that spanned thousands of years and that understood architecture not only as a means of satisfying utilitarian needs, but as an instrument of artistic speculation and a vehicle for contemplating nature, history and human community.

Convinced that contemporary architects could—and should—produce buildings that were as monumental and as spiritually inspiring as the ancient ruins of Greece and Egypt, Kahn devoted his career to the uncompromising pursuit of formal perfection and emotional expression. Working with simple materials, notably brick and concrete, Kahn applied his principles to create buildings instilled with the spiritual qualities he desired through a masterful sense of space and light. He employed this approach to create his first masterpiece, the Salk Institute (1959–65). Kahn’s interest in the relationship of architecture to its location and landscape is one of the most magical elements of the Salk Institute, an extraordinarily inspiring sequence of buildings perched on a cliff above the Pacific Ocean. This interest was equally important to his campus buildings at Bryn Mawr College, Pennsylvania (1960–65), the Exeter Library, New Hampshire (1967–72), and the Yale Center for British Art (1968–74). Striving for perfection, Kahn’s development during this period culminated in another masterpiece, the Kimbell Art Museum, which is still regarded as an exceptionally compelling and empathetic environment for displaying painting and sculpture.

The exhibition is organized by Vitra Design Museum, Germany, in collaboration with the Architectural Archives of The University of Pennsylvania and the Netherlands Architecture Institute, part of the New Institute, Rotterdam. It is globally sponsored by Swarovski. Additional sponsorship support is provided by The Beck Group. Promotional support is provided by the American Airlines, the Fort Worth Star-Telegram, and NBC5.

Complementary Exhibition

The Color of Light, The Treasury of Shadows:
Pastels by Louis I. Kahn from the Collections of His Children

This intimate exhibition presents a selection of pastels dating from a three-month period in 1950–51 when Kahn was Architect in Residence at the American Academy in Rome. While there, he had the opportunity to travel and sketch the great historic monuments and public spaces of Italy, Greece and Egypt. Away from the daily concerns of his architectural practice, his eye and spirit were free to absorb the essence of these places. In pastels that have been acknowledged as the most sublime examples of his drawing, he captured the vivid colors that light and shadow make as they illuminate the ancient sites.

Special thanks to the children of Louis I. Kahn, Sue Ann Kahn, Alexandra Tyng and Nathaniel Kahn, for generously lending their works for this exhibition.

Kimbell Art Museum

The Kimbell Art Museum, owned and operated by the Kimbell Art Foundation, is internationally renowned for both its collections and for its architecture. The Kimbell’s collections range in period from antiquity to the 20th century and include European masterpieces by artists such as Fra Angelico, Michelangelo, Caravaggio, Poussin, Velázquez, Monet, Picasso and Matisse; important collections of Egyptian and classical antiquities; and the art of Asia, Africa and the Ancient Americas.

The exhibition is organized by Vitra Design Museum, Germany, in collaboration with the Architectural Archives of The University of Pennsylvania and the Netherlands Architecture Institute, part of the New Institute, Rotterdam. It is globally sponsored by Swarovski. Additional sponsorship support is provided by The Beck Group. Promotional support is provided by the American Airlines, the Fort Worth Star-Telegram, and NBC5.

The Museum’s 1972 building, designed by the American architect Louis I. Kahn, is widely regarded as one of the outstanding architectural achievements of the modern era. A second building, designed by world-renowned Italian architect Renzo Piano, opened in 2013 and now provides space for special exhibitions, dedicated classrooms and a 289-seat auditorium with excellent acoustics for music.

*Admission to Louis Kahn. The Power of Architecture is FREE **Admission is always FREE to view the Museum’s permanent collection.

Visit the Kimbell Art Museum online at:, and

Kimbell Art Museum 3333 Camp Bowie Boulevard, Fort Worth, TX 76107 Kimbell Art Museum hours: Tuesdays–Thursday and Saturday, 10 a.m.–5 p.m.; Friday, noon–8 p.m.; Sunday, noon–5 p.m.; closed Monday. For information, call 817-332-8451.

Kimbell Art Museum Programs & Lectures

Kimbell Lecture Hall  

Friday, April 21  6 pm, Lecture Louis I. Kahn: Light, Pastel, Eternity—Michael Lewis    


Wednesday, May 3  12:30 pm, Lecture From the “Three Strides” to Dharmic Order: Vishnu in Hindu Art—Steven E. Lindquist    


Saturday, May 13  10:30 am, Inaugural Lecture: A Modern Vision: European Masterworks from the Phillips Collection Duncan Phillips’s Modern Vision—Susan Behrends Frank    


Friday, June 16  6 pm, Lecture Monet Before Monet—Joachim Pissarro    


Friday, June 23  6 pm, Lecture Vienna 1900: Redefining Portraiture in the Age of Angst—Alessandra Comini  


Friday, July 7  6 pm, Lecture Georges Braque: Within Reach of the Hand—Karen Wilkin  




Kahn Auditorium

Free; no reservations required



Pioneers of Modern Art series: Wassily Kandinsky (2004, 56 min.)

Selected films chronicle the careers of six celebrated masters whose work helped to define the major European art movements of the first half of the twentieth century. Different stories highlight the concerns that shaped their creative output, sweeping social and political changes during the period, and the enduring artistic legacies that influenced subsequent generations on both sides of the Atlantic. This series is offered in conjunction with the special exhibition A Modern Vision: European Masterworks from the Phillips Collection.



Pioneers of Modern Art series: Paul Klee (2004, 56 min.)



Pioneers of Modern Art series: Joan Miró (2004, 56 min.)



Pioneers of Modern Art series: Piet Mondrian (2004, 50 min.)




Artful Readings


Participants explore connections in the literary and visual arts through group discussions and special presentations on selected books. Includes wine and light refreshments, as well as a 20% discount on Artful Readings selections in the Museum Shop. To be placed on a wait list, please call 817-332-8451, ext. 351, or email



You Say to Brick: The Life of Louis Kahn, by Wendy Lesser (2017)



Pictures at an Exhibition: A Novel, by Sara Houghteling (2010)

Kimbell Art Museum’s Upcoming Exhibition, A Modern Vision: European Masterworks from the Phillips Collection

van Gogh, Vincent, Entrance to the Public Gardens in Arles, 1888, Oil on canvas 28 1/2 x 35 3/4 in.; 72.39 x 90.805 cm. Acquired 1930. The Phillips Collection, Washington, D.C.

Vincent Van Gogh, Entrance to the Public Gardens in Arles, 1888, Oil on canvas 28 1/2 x 35 3/4 in.; 72.39 x 90.805 cm. Acquired 1930. The Phillips Collection, Washington, D.C.


A Modern Vision

European Masterworks from the Phillips Collection

MAY 14–AUGUST 13, 2017


A Modern Vision: European Masterworks from the Phillips Collection will bring to the Kimbell more than seventy paintings and sculptures from one of the world’s greatest museums of modern art. The Phillips Collection, housed in the historic residence of a wealthy Pittsburgh family that moved to Washington, DC, in the 1890s, is in fact America’s first museum devoted exclusively to modern art. Duncan Phillips (1886–1966), the grandson of a prominent Pennsylvania steel magnate, built the museum’s extraordinary collection. When the museum opened in 1921 as the Phillips Memorial Art Gallery, in honor of its founder’s father and brother, the collection included work by American Impressionists and their French counterparts. The collection’s original building will undergo a thorough restoration in 2017-18; during the renovation, A Modern Vision will allow audiences worldwide access to some of its greatest treasures.

After founding the museum, Phillips married the painter Marjorie Acker; through her, and through expanding friendships with living artists, his eyes were opened to new strains in painting and sculpture. He soon expanded the ambitions and the breadth of his collection, reaching out to acquire the works of such modern American painters as Stuart Davis, Arthur Dove, John Marin, and Georgia O’Keeffe, but also significant holdings of works by French, Swiss, German, and Austrian artists of the period 1850-1950. Phillips referred to the museum as an “experiment station,” and today it retains the founder’s personal stamp in a gathering of art that combines tradition, idiosyncrasy, and daring. Art, in Phillips’s opinion, was meant to inspire: “Pictures send us back to life and to other arts with the ability to see beauty all about us as we go on our accustomed ways,” Phillips wrote. “Such a quickening of perceptions is surely worth cultivating.”

Central to Phillips’s taste was a preference for intense color and design. He was the first person, for instance, to gather a group of paintings by the Abstract Expressionist Mark Rothko together as a unit—a move that anticipated and even inspired Rothko’s creation of decorative series. As Robert Hughes put it, “Phillips was in fact the complete optical collector. He craved color sensation, the delight and radiance and sensory intelligence that is broadcast by an art based on color. Color healed; it consoled, it gave access to Eden. He could not understand . . . why art should be expected to do anything else.”

Duncan Phillips was an iconoclast. He rejected old-fashioned art-historical ways of organizing a museum, believing that “the really good things of all ages and all periods could be brought together . . . with such delightful results that we recognize the special affinities of artists.” A Modern Vision begins with a spare and, in Phillips’s view, quintessentially “modern” still life painted by Jean-Baptiste-Siméon Chardin in 1726 and concludes with a highly stylized bird painted by Georges Braque in 1956, purchased in the year of Phillips’s death. In between, viewers will encounter a stunning array from the nineteenth century that begins with such masters as Courbet, Ingres, and Manet and features such icons as Honoré Daumier’s The Uprising. Impressionist and Post-Impressionist paintings include a superb still life by Cézanne and an intensely colored painting of dancers by Degas, in addition to landscapes by Monet, Sisley, and Van Gogh—notably the latter’s celebrated Road Menders of 1890.

Critical to the exhibition are important selections from the carefully formed “units” of works by Phillips’s twentieth-century favorites: Pierre Bonnard, including The Open Window and The Palm; Wassily Kandinsky, including a canvas added to the collection by Phillips’s friend Katherine Dreier, Sketch I for Painting with White Border (Moscow); Pablo Picasso; Oskar Kokoschka; and Georges Braque—with some seven works, among them the elegiac Shower.

A Modern Vision gathers, in the words of Duncan Phillips, “congenial spirits among the artists from different parts of the world and from different periods of time” in an unprecedented array that will both inspire and delight, demonstrating that, as Phillips believed, “art is a universal language.”

Amon Carter Museum of American Art Exhibitions and Events

Guy Bourdin (1928–1991) Charles Jourdan, 1978, 1978 C-Print on Fujiflex paper © The Guy Bourdin Estate 2017 / Courtesy of Louise Alexander Gallery

Guy Bourdin (1928–1991)
Charles Jourdan, 1978, 1978
C-Print on Fujiflex paper
© The Guy Bourdin Estate 2017 / Courtesy of Louise Alexander Gallery


Special Exhibition:


The Polaroid Project: At the Intersection of Art and Technology
June 3–September 3, 2017

The Polaroid Project
surveys the history of the innovative photographic company Polaroid and its intersection with art, science and technology during the second-half of the 20th century. Featuring a wide-ranging group of artists, the exhibition showcases the diversity of works produced over several decades. Organized by the Foundation for the Exhibition of Photography, The Polaroid Project displays a variety of image sizes and formats produced over the years and the rich legacy of technological and artistic experimentation that the company enabled prior to its obsolescence.



Artist Talk with Gabriel Dawe and curator Maggie Adler

April 20, 6:30–7:30 p.m.

They will discuss his artwork, process, inspiration, and the installation of Plexus no. 34.


Gallery Talk with Kevin Vogel
April 27, 6:30–7:30 p.m.

President of Valley House Gallery & Sculpture Garden and Fine Art Estate will present a talk in conjunction with the exhibition Invented Worlds of Valton Tyler. Vogel will talk about the Texas artist’s life and work, the museum’s limited-edition book on the exhibition, and the fascinating story of how the Vogel family nurtured Tyler and his art, saving both from obscurity.


Artist Talk with Ellen Carey
June 15, 6:30–7:30 p.m.
In conjunction with the special exhibition The Polaroid Project, artist Ellen Carey will discuss her experimental work with Polaroid from the 1970s to the present. Her lecture will address a range of her images, including her earliest “selfies” to her breakthrough, abstract Pulls that use the large format Polaroid 20-by-24-inch camera and are included in the exhibition.


Party on the Porch

September 23, 6–10 p.m.
Music, food, and art festival


Also on View:


Between the Lines: Gego as Printmaker

Through August 6, 2017
From zigzags and curves to diagonals and scribbles, this small exhibition of prints by abstract artist Gego (1912–1994) celebrates the vibrant diversity of line. While primarily known as a kinetic sculptor, Gego explored the printing process’s potential for creating intricate linear patterns while working at the Tamarind Lithography Workshop in Los Angeles in 1966.

Drawn from the Amon Carter’s collection, these richly saturated lithographs reflect Gego’s interest in the intersection between line and space. Her choice of dramatic blacks and reds, contrasted with the lightly colored paper sheet, highlights the images generated by negative space, or what Gego called, “the nothing between the lines.”


Avedon in Texas: Selections from In the American West
Through July 2, 2017

When renowned New York City fashion and portrait photographer Richard Avedon (1923–2004) agreed in late 1978 to take on a commission from the Amon Carter to create a portrait of the American West through its people, he was filled with uncertainty about whether the project would succeed. The following spring he went to the Rattlesnake Round-Up in Sweetwater, Texas. That weekend he created six evocative portraits that would set the tone and bar for five more years of photographing. In these sittings, he discovered people who conveyed through their faces, clothes and postures, not merely hard living but the full embrace of existence. This selection of 17 of the project’s Texas images makes abundantly clear why In the American West has become a touchstone in photographic history.


Homer and Remington in Black and White

Through July 2, 2017
Winslow Homer (1836–1910) and Frederic Remington (1861–1909) were among the most accomplished American artists of their day. While they both personally measured the success of their careers by the recognition they received from critics and patrons for their oil paintings, they likely would never have obtained the status of American greats without their mutual involvement in the world of illustration. Wide distribution in the leading periodicals of the day assured that they became household names. Both artists learned how to communicate clearly and concisely in black and white, distilling the essence of a scene into a few sharp elements. This exhibition features works from the Amon Carter’s permanent collection that represent the variety of their creations in black and white.


Fluid Expressions: The Prints of Helen Frankenthaler

March 18–September 10, 2017
Although widely known for her iconic “soak-stain” canvases, Helen Frankenthaler (1928–2011) was an equally inventive printmaker who took risks in a medium not frequently explored by abstract expressionists. Fluid Expressions: The Prints of Helen Frankenthaler highlights the artist’s often-overlooked, yet highly original and whimsical print production.

Drawn from the collections of Jordan D. Schnitzer and his Family Foundation, this exhibition includes more than 25 prints made from a diverse range of techniques, including lithographs, etchings, aquatints, screen prints and woodcuts.


Darryl Lauster: Trace
March 25, 2017–March 25, 2018
For his sculptural installation Trace, Texas-based artist Darryl Lauster (b. 1969) created 10 fragmentary Carrara marble tablets and carved phrases in them using a font reminiscent of monuments. The blocks of stone seemingly speak essential truths—such as language from American founding documents, various militia and splinter group manifestos, and parts of the inscription on the Statue of Liberty—uniting fundamental phrases intended for entirely different purposes and obscuring their original meanings. Because the stones appear to be broken pieces of a full inscription, any overarching meaning is difficult to discern, much as many of the texts in their entirety are subject to differing interpretations. Trace asks us to wonder whether what we are reading is from a separatist group, Darwin, or the Bill of Rights. His work engages with contemporary society while using historical language.



July 15–December 10, 2017
We often think of nature as that which stands beyond humanity and culture as that which reflects people’s achievements. But rarely is the matter so simple. This exhibition explores different facets of the dichotomy. Besides reflecting on how nature counterpoints and enlivens our built environment, the show recognizes the more problematic use of the term, and its cousin “natural,” when applied to snapshots, portraits and Native American cultures.


Dornith Doherty: Archiving Eden

August 12, 2017–January 14, 2018
Over the last nine years, North Texas photographer Dornith Doherty has traveled the globe to construct a visual meditation on the planet’s botanical diversity by showcasing the work of international seed banks and sharing the pure aesthetic pleasure of seeds and their transformations into plants. This exhibition celebrates the completion of that project. At a time when some ecologists are suggesting that we are losing more than 10 animal and plant species each day, the display provides eloquent confirmation of the close relationship between botany and biophilia.


Caught on Paper

September 23, 2017–February 11, 2018
From giving something your “best shot” to feeling like a “fish out of water,” metaphors and imagery from the sport of hunting and fishing permeate American culture. Inspired by the coinciding exhibition of painting and sculpture Wild Spaces Open Seasons: Hunting and Fishing in American Art, this selection of works on paper explores the popular outdoor subjects that have captivated American artists for centuries.

Caught on Paper brings together more than 30 works on paper from the Amon Carter’s permanent collection. With watercolors and prints by artists such as Winslow Homer, Buffalo Meat, Frederic Remington, Charles M. Russell and Arthur Fitzwilliam Tait, this show is truly a rare catch.

University of Dallas Beatrice M. Haggerty Gallery Presents ‘View from the Art Village: 50-Year Retrospective’

Lucas Martell, 230–430, 2016, Dye, watercolor, and gouache, on rag paper, 30" x 22", Courtesy of the artist

Lucas Martell, 230–430, 2016, Dye, watercolor, and gouache, on rag paper, 30″ x 22″, Courtesy of the artist

Retrospective Celebrates 50 Years of Graduate Studies with Exhibition of Alumni Art

In celebration of 50 years of graduate studies at the University of Dallas, the Beatrice M. Haggerty Gallery presents View from the Art Village: 50-Year Retrospective, an exhibition that features more than 40 alumni artists of the Braniff Graduate School of Liberal Arts. Promising exciting work from stalwart artists such as Bob Nunn, Linnea Glatt, Roberto Munguia, and Ann Stautberg, among many more, this exhibition features some of North Texas’ most prominent artists, whose works have been featured in museums, galleries, churches and convents around the world.

The exhibition’s curator, Nancy Cohen Israel, will give remarks during the opening reception on Friday, March 24, from 6-9 p.m., and provide a curator-guided gallery tour on Sunday, April 2 from 1-3 p.m. The exhibit will remain open through Saturday, April 29.

Spanning half a century, View from the Art Village: 50-Year Retrospective provides visitors with a survey of contemporary artists who spent their formative years in the University of Dallas’ Haggerty Art Village. While selecting the exhibition’s featured artists, Israel found the caliber of University of Dallas artists revelatory because “so many have been especially vital to North Texas’ art scene.”

Early art graduates Jack Mims, George Green and Jim Roche, make up three-fourths of the famous “Oak Cliff Four,” who pioneered Texas Funk — an art movement that blended cultural Texas idioms with psychedelic and pop art — in the early ’70s. Sister Maria Liebeck, member of the religious community Daughters of Charity, has used art to connect prayer and faith, devoting her art ministry to serving the poor.

Juergen Strunck,CCK-7 2016, Ink on Japanese fiber, chine colle on cotton fiber, 25 x 20 in. Courtesy of the artist, Photo Credit: Harrison Evans

Juergen Strunck,CCK-7 2016, Ink on Japanese fiber, chine colle on cotton fiber, 25 x 20 in. Courtesy of the artist, Photo Credit: Harrison Evans

In Dallas alone, many University of Dallas art alumni have recently exhibited their works, including Roberto Munguia and his large retrospective, “Buscador/Descubridor,” displayed at the Latino Cultural Center; Lucas Martell, with a solo exhibition at Circuit 12; Rachel Muldez, with a solo exhibition at the Oak Cliff Cultural Center; and multimedia artist and writer Laray Polk, and her Trinity River Project collaboration presented by the Liliana Bloch Gallery. Other significant artists include Christine Bisetto, former Beatrice M. Haggerty Gallery director, and Professor Emeritus Juergen Strunck, who headed the university’s printmaking program for decades.

Many of our graduates go on to teach at other universities and community colleges.

A Dallas-based art historian, art educator and writer, Israel is the owner of Art à la Carte, which brings together art enthusiasts for classes on art history, tours and special programs. For 15 years, she has coordinated local, regional and international tours with the popular series “Second Saturdays,” visiting artists’ studios, private collections and other unique art spaces. Her familiarity with the Dallas/Fort Worth art scene made her the perfect candidate to curate this 50-year retrospective exhibition.

“Beyond the boundless talent that has emerged from the University of Dallas graduate art program, the school is unique for its leadership in other ways. From being the first integrated school in Texas to offering the first graduate art program at a Catholic university in the region, this dynamic of always moving forward continues to create trailblazing artists who will, no doubt, continue to push the boundaries of contemporary art,” said Exhibition Curator Nancy Cohen Israel.

Artists on view are Carol Beesley, Christine Bisetto, Gabriel Brubacher, Kate Colin, Donald Copeland, Carol Cook, Annie Chrietzberg, Mark Epstein, Nancy Ferro, Linnea Glatt, Linda G. Gossett, Maurice Gray, George Green, Mirka Hokkanen, Mary Hood, Robyn Jorde, Sr. Maria Liebeck (DC), Lucas Martell, Rachel McClung, Jack Mims, David Morris, Rachel Muldez, Roberto Munguia, Andrew Myers, Trish Nickell, Bob Nunn, Michael Obranovich, Rick Parsons, John Pavlicek, Laray Polk, Nancy Rebal, Socorro Rico, Jim Roche, Humberto Saenz, Albert T. Scherbarth, Donna Stallard, Ann Stautberg, Jonathan Stewart, Juergen Strunck, Lance Timco, Terri Thornton, Jeffery Vaughn and Tony Veronese.

Linnea Glatt, Beige Pinstripe, Black/Beige Pinstripe, Black Pinstripe, 2016, Fabric and thread on paper, 30" x 22", Courtesy of the artist and Barry Whistler Gallery

Linnea Glatt, Beige Pinstripe, Black/Beige Pinstripe, Black Pinstripe, 2016, Fabric and thread on paper, 30″ x 22″, Courtesy of the artist and Barry Whistler Gallery

About the Beatrice M. Haggerty Gallery

The Beatrice M. Haggerty Gallery is located in the Art History Building at the corner of Gorman Drive and Haggar Circle on the University of Dallas campus at 1845 E. Northgate Drive in Irving. The gallery, which is part of the universitY’S  Haggerty Art Village, is open weekdays 10 a.m. to 5 p.m., Saturday and Sunday 1 p.m. to 5 p.m. For more gallery information, visit call 972-721-5087.

About the University

The University of Dallas, located in a metropolitan area of nearly 7 million people, is a leading Catholic university widely recognized for academic excellence by well-known publications, organizations and accrediting bodies. It offers distinctive individual undergraduate, graduate and doctoral programs in the liberal arts, business and ministry that are characterized by an exceptional, engaged faculty, a commitment to shaping principled, well-skilled leaders and academic rigor in the Catholic intellectual tradition. For more information, visit

Islamic Art Revival Series Exhibition

Helen Zughaib, Generations Lost

Helen Zughaib, Generations Lost

IARS Women’s Invitational Exhibition 2017 was presented by Islamic Art Revival Series at the Eiseman Center of Performing Arts and Corporate Presentations in Richardson, Texas in the Forrest and Virginia Green Mezzanine Gallery from March 1st to March 26th.

This exhibition presented the work of ten minority women practicing in the United States as first generation artists. This exhibition focused on the work of these women artists who create art work which not only reflects, the strong bond to their own heritage but the experience of living in the USA, their new permanent home, and how this experience has influenced the work they are presenting now.

The exhibition Curator and IARS Art Director Shafaq Ahmad explains, the work selected is innovative, daring, inspiring and presents unique narratives, techniques, current social issues and viewpoints that contribute to understanding of diverse cultures.  A wide variety of themes will be presented in this contemporary art exhibition. Artists originally from Japan, Iran, Lebanon, Pakistan and Saudi Arabia, now living in the United States were invited to take part in this unique and inspiring exhibition.

IARS offers an opportunity for the audiences of all ages, genders, faiths and cultures to view not only very diverse art but to interact with a body of work from each artist for a better understanding of their work.

The artists participating in the exhibition are Sarah Ahmad from Georgia, Nida Bangash, from Texas, Sue Ewing from Texas, Nina Gharbanzadeh from Wisconsin, Saberah Malik from Massachusettes, Hend Al Mansour from Minnesota, Roya Mansourkhani from Texas, Naoko Morisawa from Washington, Sudi Sharaf from New York and Helen Zughaib from Washington D.C.


Visit the Islamic Art Revival Series website.

COMCOL Annual Conference Call for Papers


The Guardians of Contemporary Collecting and Collections – working with (contested) collections and narratives

Umeå, Sweden, 5–9 December 2017


COMCOL is the International Committee for Collecting of the International Council of Museums (ICOM), which aims to deepen discussions and share knowledge on the practice, theory and ethics of collecting and collections development. This year COMCOL jointly organises its annual conference with DOSS (Contemporary Collecting Sweden, previous Samdok), Norsam (Nordic network for contemporary collecting and research at museums), and ICOM Sweden.

Ten years after the Connecting Collections conference in Stockholm, which was the starting point for COMCOL, we will return to Sweden. From 5–9 December we will be hosted at the Västerbottens museum in Umeå.

During the conference we would like to connect to the legacy of Samdok, focusing on collecting the present; connecting the present with historical collections and collections with communities. We would like to look closer at good practices in museums concerning collecting and collections, practices that are possible to develop further. We would also like to investigate the difficult narratives. As our diverse societies today put different demands on our collections, collecting strategies and presentations, it has become impossible to speak about cultural heritage without asking the questions: Which heritage? Whose? So how can (contested) collections be revisited? How can we create democratic collections? Which new approaches to museum ethics can be used, and how can contemporary practices and collecting address or add to the discussion around difficult heritage?


We invite papers from researchers, museum professionals and students that address the collection development, including, but not limited to, the following topics:

  • The triangular relationship between museum, community and collection
  • What are the contested histories and objects of the past for societies today? How can we address issues around contested objects or narratives in the museum? For whom are they disturbing? Which roles can the communities play in the representation? And how do museums register and preserve the contested histories in a contemporary context to make the future colleagues understand its context and reason to be collected? Theory, practice and ethics.
  • The democratic collections: collecting and safeguarding of histories and objects from an inclusive perspective
  • As guardians of collecting, collections and collective memories, museums have a role and responsibility to collect from an inclusive perspective, focusing not only on the majority society, but also on minorities from a wide perspective. Age, educational level, ethnical background, gender, gender identity, disabilities, religion, sexual orientation and social class are examples that form us as human beings. In what way do museums collect and preserve histories and objects from minorities and our diverse society? How do museums work in an inclusive way with contemporary collecting and collections? And how is the diversity visible in the collections and in museums´ digital catalogues? Theory, practice and ethics.
  • Letting go, identification and shared authority
  • The discussions about contested objects also incapsulate postcolonial issues of representation and repatriation, discussing museological issues concerning interpretation, categorization and multivocality. How can and do museums act when questions about repatriation arise? Which role can source communities play here? Theory, practice and ethics.
  • Collecting and participative strategies
  • How can collaborations between museums and communities create bridges to engage with (difficult) collections and create greater understanding and empathy? Can collaborations alter the context of the museums older collections? Can collaborations lead to new ways of collecting and interpreting old collections? Can collaborations lead to repatriation or de-accessioning of collections? Theory, practice and ethics.
  • Sustainability of contemporary collections
  • Who are the guardians of collecting, collections and collective memories of the museums? Is it one person, a group or a society? How do politics, economy and the spirit of the time influence collecting practices? In what way did the Samdok way of collecting influence its collecting at the time, and how does it function today? Samdok has also inspired the birth of COMCOL, what other collecting practices or collaborations between museums on contemporary collecting in the world can be seen as good practices to develop further and to inspire collaborations on collecting and collections?


Submitting abstracts:

Abstracts (between 250 and 300 words) should be sent to: by June 1st 2017.

Approval of proposals will be announced by July 10th 2017.


The following information should be included with the abstract:

  • Title of submitted proposal, please indicate if it is a paper, workshop or panel contribution
  • Name(s) of Authors
  • Affiliation(s), e-mailaddress(es), and full address(es)
  • Technical requirements for the presentations


The conference and abstract language is English.

We warmly welcome proposals that go beyond traditional paper presentations and encompass also panels, pot-it sessions and workshop formats.


Conference publication:

A conference publication is planned. Please inform if you are not willing to be a part of the publication!

A full paper for the publication should be sent to: by September 1st 2017.