Category: Vol 2 Issue 3

Director’s Welcome

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

 

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

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

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

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

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

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

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

 

Richard R. Brettell, Ph.D.

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

Greetings from the Assistant Director

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

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

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

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

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

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

Dr. Sarah K. Kozlowski

Assistant Director

The Edith O’Donnell Institute of Art History

 

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

ISAAC In Nanjing

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

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

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

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

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

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

Richard R. Brettell, Ph.D.

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

 

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

Friends of EODIAH

Dr. Richard R. Brettell and Ms. Lucy Buchanan

During the past few months, EODIAH has hosted numerous events and important programs. Here is a “snapshot” of some of our supporters.

To support EODIAH, please click here.

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

For more information, call Lucy Buchanan at (972) 883-2472 or email at lucy.buchanan@utdallas.edu.

Sincerely,

Lucy M. Buchanan

Director of Development

The Edith O’Donnell Institute of Art History

Edith and Mr. Peter O’Donnell

Margaret McDermott and Dr. Richard C. Benson, President of UT Dallas

George Schnerk and Mrs. Margaret McDermott

Mr. and Mrs. John Ridings Lee

Dr. B. Hobson Wildenthal and Mrs. Ray Wallace

Mr. and Mrs. H. Ross Perot

Ms. Salle Stemmons

Mrs. Nancy Shutt and Mrs. Mark Lemmon

Mrs. Nancy Dedman, Brad Kelly and Dr. Joanne H. Stroud-Bilby

Ms. Mary McDermott-Cook and Mr. Dan Patterson

Mr. and Mrs. George Lee Jr.

Dr. Agustín Arteaga and Mr. and Mrs. Thomas Campbell

Mr. and Mrs. William Solomon

Dr. Sabiha Al Khemir with Mr. and Mrs. Elliot Cattarulla

Mr. and Mrs. Richard Barrett

Mr. and Mrs. Joseph M. Grant

Mr. and Mrs. Jeremy Halbreich

Ms. Serena Ritch

Mr. and Mrs. William A. Custard

Mr. and Mrs. Jay Pack

Ms. Patricia Patterson and Mrs. William E. Rose

EODIAH Donors

Mrs. Edith O’Donnell

The O’Donnell Institute was founded in 2014 through an extraordinary lead gift from Mrs. Edith O’Donnell. Mrs. O’Donnell is joined by other individuals and institutions whose generosity and energy support our work.

 

 

 

 

 

 

 

 

FOUNDING DONOR

Edith O’Donnell

 

MAJOR DONORS

Mrs. Eugene McDermott

The Hamon Charitable Foundation

The Harry W. Bass, Jr. Foundation

The State of Texas

Mrs. W. Ray Wallace

 

O’DONNELL CIRCLE – $25,000

Mr. and Mrs. John Ridings Lee

George Schnerk

 

DIRECTOR’S CIRCLE – $10,000

Margot B. Perot

Salle Stemmons

 

PATRON – $5,000

Communities Foundation of Texas

Mr. Harlan Crow

Carolyn and Bob Dickson

Legett Foundation

George A. and Nancy P. Shutt Foundation

 

SUPPORTER – $2,500

Elizabeth Boeckman

Nancy M. Dedman

Mr. and Mrs. Peter J. Denker

Mr. and Mrs. Joseph M. Grant

Ms. Ruth Mutch

Vin and Caren Prothro Foundation

Mr. and Mrs. Paul T. Stoffel

 

CONTRIBUTOR – $1,000

Mr. and Mrs. Elliott Catarulla

Eugene and Rhoda Frenkel

 

PARTNER – $500

Lucy M. Buchanan

Mr. and Mrs. Thomas C. Campbell

Mary McDermott Cook

Mr. and Mrs. George Lee, Jr.

The Dallas Foundation – Mr. and Mrs. William T. Solomon, Sr.

Ms. Patricia Patterson

 

SPECIAL RECOGNITION

Mrs. I.D. “Nash” Flores III

Roger S. Horchow

Winifred and Ivan Phillips

Mr. Peter Rathbone and the Estate of Perry Rathbone

Eve Reid

Dr. David Wilcox

 

 

For more information, call Lucy Buchanan at (972) 883-2472 or email at lucy.buchanan@utdallas.edu or go to our website utdallas.edu/arthistory/support

Art and Medicine Updates

Bonnie Pitman, Distinguished Scholar in Residence, UT Dallas

Bonnie Pitman continues to make major advancements in her work on Art and Medicine at UT Dallas. Her recent publications in the Dallas Morning News and San Antonio Medicine highlight her continuing initiatives to expand the awareness of the national movement teaching medical students the art of close-looking, developing empathy and dealing with ambiguity through looking at works at the Dallas Museum of Art.  Pitman’s feature in Zócalo Public Square focuses on her life-long dedication to art museum engagement and the successful practices she implemented at the Dallas Museum of Art.

Dr. Heather Wickless, M.D., M.P.H., Assistant Professor, University of Texas Southwestern Medical School and Amanda Blake, Interim Director of Education at the Dallas Museum of Art are commencing plans to join Pitman in teaching the 2018 class for UT Southwestern Medical School students.

 

St. Louis University Keynote and the St. Louis Art Museum Gallery Tour with Physicians and Educators

 

 Pitman has been invited to deliver a keynote lecture and grand rounds at Saint Louis University (SLU)’s Art History Department this Fall 2017, to art history faculty and students, health professionals and students, and art educators. Her talk “The Art of Examination: Art and Medicine Explored” provides an overview of the current art in medicine programs around the country and her work at UT Southwestern Medical School, teaching medical students skills for close observation, empathy, communication and dealing with ambiguity through close looking at art. She will also facilitate an educational session in the St. Louis Art Museum (SLAM) galleries with members of the museum’s Learning & Engagement team and physicians at the Medical School using objects in the museum’s collection to share her unique methods of merging art and medical teaching.

 

New Publications

Dallas Morning News 

“Universities partner with Dallas Museum of Art to teach medical students importance of empathy”

San Antonio Medicine 

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

Zocalo Public Square

“Want to Find New Audiences? Keep Trying New Things”

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

“Patterns of Islamic Art” at the O’Donnell Institute Research Center at the Dallas Museum of Art, 2017, photograph by Carolyn Brown

 

We are excited to welcome everyone to join us this fall for our scholarly programs in the Research Center. Upon her completion of the first English-language translations of Paul Gauguin’s seven texts, UTD Postdoctoral Research Fellow Dr. Elpida Vouitsis discussed on August 29th how Gauguin’s writing style successfully communicates the duality of meaning in his artworks. In November our fellows have the special opportunity to visit the recent installation of Keir Collection objects with Dr. Sabiha Al Khemir. Our semester will conclude with a workshop by one of our new PhD fellows, Edleeca Thompson. Her research examines the myriad of ways museums display African art collections and how these design decisions effect interpretation.

The Research Center will host two new exhibitions this fall: Patterns in Islamic Art and Maya Trade and the Ulúa River Regions. I’ve curated a selection of Carolyn Brown’s photographs of Islamic architecture in the Middle East. Her images beautifully capture the nonfigural design elements in Islamic art: geometric, vegetal, and calligraphic. Patterns repeat and intertwine in colorful tiles on mosque façades and delicate stained glass that decorate intimate interiors. Our fourth vitrine installation, curated by DMA Curator Dr. Kimberly Jones, displays small ceramic vessels from the Ulúa region in Honduras. Despite their diminutive size, these objects were bound up in networks of trade and exchange throughout the Classic Maya kingdoms.

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

Lauren LaRocca

Coordinator of Special Programs

The Edith O’Donnell Institute of Art History

Cultural Developments in North Texas with Dr. Richard Brettell and Mark Lamster: Presented by the Dallas Architecture Forum

The Dallas Architecture Forum Presents:

Cultural Developments in North Texas  

Richard BRETTELL, Ph. D in conversation with Mark LAMSTER

 

10 October 2017

Tuesday, 7 pm, with informal reception and check-in beginning at 6:15 pm

Horchow Auditorium, Dallas Museum of Art

Free Admission for UT Dallas students, faculty and staff (with ID)

No reservations needed, Join us!

The last two decades have seen dramatic developments in the cultural fabric of North Texas. In Dallas, the Arts District saw the addition of the Nasher Sculpture Center, the Wyly Theater, the Winspear Opera House, the Moody (formerly City) Performance Hall, and the completion of the Booker T. Washington campus. Fort Worth has added the Modern Art Museum and the Piano Pavilion at the Kimbell among its new signature buildings.

Much has happened besides the completion of these signature buildings. Galleries, artist labs, new musical and theatrical organizations have also come into existence or increased their reach across North Texas. Academic centers such as UT Dallas and non-profits such as The Dallas Architecture Forum have expanded their cultural reach and raised awareness and dialogue on issues important to all of us. In addition to the Arts District in Dallas and the Cultural District in Fort Worth, there are emerging centers of creative activity across many North Texas cities.

Join us for a lively discussion with Rick Brettell and Mark Lamster as we examine some of these major accomplishments over the last twenty years. Dr. Brettell and Mr. Lamster will also discuss what needs to occur over the next two decades to enhance the arts and cultural opportunities for all North Texas residents.

EODIAH Professor Maximilian Schich Presents at NetSci2017

Maximilian Schich

EODIAH and ATEC Associate Professor Maximilian Schich was selected to present the Springer/Nature invitation talk at NetSci2017, the flagship International Conference on Network Science (http://netsci2017.net/). In the talk, titled Networks in Art and Culture, Prof. Schich outlined his own research trajectory from art history and archaeology towards a science of art and culture that bridges the “two worlds”, currently done in co-affiliation with UT Dallas ATEC and the Edith O’Donnell Institute of Art History (EODIAH).

The talk, selected by Springer/Nature to be sponsored as the Springer Complexity invited talk, coincides with the NetSci2017 conference call officially adding “arts and design” to the list of established network science disciplines, including “computer and information sciences, physics, mathematics, statistics, the life sciences, neuroscience, environmental sciences, social sciences, finance and business.” The addition of “arts and design” is a direct consequence of a successful satellite symposium series on “Arts, Humanities, and Complex Networks”, co-organized by Maximilian Schich, Isabel Meirelles (OCAD University), and Roger Malina (UT Dallas ATEC), from 2010 to 2015.

After achieving acceptance rates between 14% and 25%, Prof. Schich says “It was a strategic move to stop doing the satellite and effectively nudge the main conference to add “arts and design” to the official disciplines and let a “culture” session emerge within the main conference program via relevant submissions diverted through the absence of our own satellite.”

In the coming academic year, Prof. Schich will work to summarize his emerging field as an EODIAH-sponsored guest professor at Zentralinstitut für Kunstgeschichte in Munich/Germany, one of the most extensive international art libraries world-wide. Schich is glad to return in Fall 2018, stating, “In which other university can an Art Historian collaborate with excellent students from all over campus, without the need to excuse the use of science to understand art and culture? Go UTD!”.
________________

MORE ON NetSci2017:
Why should network scientists be interested in art and culture? Why should historians of art and culture be interested in network science? Why does NetSci2017 officially call for contributions in “arts and design”? And why does the main conference feature a session on “culture”? This talk will provide reasoning regarding these questions, both documenting the rise of a vibrant community, and outlining challenges that are central to both network science and the study of art and culture. A NetSci satellite theme with more than 60 contributions from more than 37 disciplines since 2009, network analysis now permeates data-driven research in art and culture, while culture analytics increasingly establishes itself as a science.

 

2017-2018 Edith O’Donnell Graduate Fellows Dissertations

Dissertations in Progress

Jacob Crawford

Playing with Publishing: The Performance of Early Modern English Play Book Title Pages

My dissertation centers on early modern English printing of playbook title pages published from the advent of professional playing companies in the 1570s until the closure of the theatres during the interregnum of 1642. My investigation includes nearly 600 preserved playbook title pages and includes analyzing the rhetoric of attributions, acknowledgments, lengthy titles, and visual imprints (woodcuts) that remind readers of the traditions and agents involved in its creation. The title pages of early modern English playbooks warrant additional examination because the performativity of their elements are not fully represented by previous bibliographers, such as H. S. Bennett, and my dissertation aims to investigate as many of these title pages as possible because playbooks are inconsistently recognized for their unique characteristics.

An investigation of early modern playbooks is critical to understanding the unique contributions of playbooks to English publishing and literature, and that the rhetoric of title pages in early modern English playbooks warrants a closer examination to expose why the key elements of attribution, acknowledgements, titles, and images call attention to the performance of plays. Such an investigation is a counter to previous scholarship that simply categorizes title pages as a marketing tools. I do not see title pages as mere marketing tools for the sale of playbooks and promotion of printing houses, but as a visual instrument linking the performances in the playhouse to the imagined stage of the reader.

The visual elements on a playbook’s title page range from simple decorative patterns and printer’s marks to elaborate illustrations of scenes from the pages of the plays. The variety and purposes of these images range from traditional adornment of the page to sending a message to the reader that contains a visual memory of an actual performance. Images are powerful tools of storytelling and invoke a visual performance on the page, and help to remind the reader of the origin of the literary work they are about to participate.

Virginia Curry

“Causarum Cognitio”: The Architecture, Collections and Social Agency of American Athenaea

Three Case Studies: Redwood, Boston and Caltech

The concept of adult, non-ecclesiastical education evolved organically as a global phenomenon in Western Europe during the early 11th Century. Independent circles of like-minded individuals interested in reading and enrichment in the classics and the sciences gathered in small home groups which were taught by and for students. While some of these Athenaeum groups, such as the Lincei in Rome (of which Galileo was once a member) remain to the present day as private circles, others gradually evolved into major universities.

Many American Athenaea were founded in the northeast corridor of the United States, between 1731 and 1930.   As in Western Europe, a number of these eventually evolved into universities.

Since the first American Athenaea were founded in relatively populated centers in the Northeast, it was not at all unusual for athenaeum members to hold memberships in more than one circle.   Founding fathers Washington, Jefferson, Hamilton, and Franklin, authors Poe, Melville, Emerson, and Hawthorne, painters Durand, Cole, and even visiting authors from London including, von Humboldt, Dickens and Conan Doyle, were often affiliated with multiple Athenaea in America as well as in Europe.

The Athenaeum caused a literal blending of kindred spirits engaged in the fields of art, literature and science.   In one famous instance, the meeting of artists Asher Durand and Thomas Cole with writer William Cullen Bryant was immortalized in a painting by Asher Durand, called “Kindred Spirits,” memorializing the friendship between the three.

One exceptional attraction of Athenaea was the opportunity to encounter individuals who pursued a variety of interests.   Historic figures of the Salem Massachusetts Athenaeum, for example, included such diverse personalities as Edward August Holyoke, a founder of the American Academy of Sciences; Nathaniel Bowditch, a mathematician who changed the course of American navigation; author Nathaniel Hawthorne; Supreme Court Justice Joseph Story; electric motor inventor Charles Grafton Page; and American Impressionist painter Frank W. Benson.

Fine art and antiquity collections in several Athenaea include portraits by Samuel Morse. A Boston native and inspired polymath, painter and sculptor, best known for the telegraph and the code that bears his name, Samuel Morse also painted a historical record portrait of the Marquis de Lafayette, John Adams and other luminaries from life. In New York, Morse founded the National Academy of Design in the building shared by the New York Society Library (both still extant) which also functioned as the first library of the American Congress. Several American Athenaeum museum collections were, in fact, so successful that they were eventually spun off into nearby independent museums such as the Fine Arts in Boston and the Berkshire in Pittsfield.

What can we learn from the successful Athenaea which can be applied to an engaging contemporary revival of this form and what space and responsibilities might it occupy?

My research will address this question though the comparison of three extant and successful Athenaea: The Redwood Athenaeum in Newport Rhode Island, founded in the seventeenth century, the Boston Athenaeum in Boston Massachusetts, founded in the eighteenth century and the Athenaeum at the California Institute of Technology, (Caltech) founded in the twentieth century. Caltech Athenaeum is the only Athenaeum founded on a university campus.

I shall argue that Athenaea groups functioned as incubators not only for creating an American identity through fine art and architecture, but also promoted rational discourse in science, scientific design and literature. Many Athenaea plans included scientific laboratories to permit members to conduct experiments.

I shall also argue that membership in Athenaea internationally as well as in America is not predicated on a single note of education, class, or career path. This embrace of diversity remains the key to productive and engaging rational discourse.

My dissertation will present a study focused on three thriving, contemporary institutions in order to assess their missions in terms of their legacy of philosophy and rational discourse. I shall argue that Athenaea which have broadened opportunities for discourse in STEAM (Science, Technology, Engineering, Arts and Mathematics) in their development strategies may tend to impact on their success while others have not. I shall also argue that the presence of competing institutions and universities has not proven to be adverse to the success of Athenaea, as the latter serve as informal centers for the sharing of adult discourse and cultural and scientific enrichment and have long co-existed in proximity to the former.

My research will identify, compare and contrast features of three aforementioned extant American Athenaea: Redwood, Boston and the Athenaeum of California Institute of Technology. My research shall identify and discuss key features of these three which may be incorporated into plans for a twenty-first century Athenaeum, as well as examine the role of new technology in a re-envisioned institution.

 

 

 

Brianni Nelson

You’re Just Being Sensitive: Blurred Lines of Race Humor in New Media

In the 1990s, cultural critics proclaimed that the Internet would be a great equalizer; espousing the utopian possibilities of the Internet as a place where the differences and discrimination that plagued the “real” world would vanish. But, this virtual sphere of a post-racial utopia did not come to fruition. This text examines the circulation of racist humor within this Internet, one that continues offline patterns of racist expressions. Access to emerging media alters the ways in which people interact with one another by drastically reducing the complexity associated with engaging with other people and resources in physical space, thereby similarly transforming communication around racial issues. It is significant that these transformations extend beyond the presumed serious side of racial issues, but also into entertainment, particularly humor and joke telling. This text investigates what happens at the intersection of race talk, comedy entertainment, and digital media – specifically in the rising popularity of humorous image and video memes on social networking sites at the same time as the rising popularity of discussing race through a “colorblind” philosophy.

This text presents a cultural study of historical and current representations of race-related humor in print, visual, and digital media, focusing specifically on the affordances of networked communication and sharing-based platforms that facilitate the rapid spread of racist content under the “protection” of humor, as evidence of how videos, and their components, signify meanings and communicate messages.

While there is an extensive history about the significance of race, the failings of color-blindness, the role of humor in everyday life, and why minority representation in media matters, current literature falls short of understanding the implications of post-race dialogue in digital space and its implications on the type of comedy users desire, produce, and consume.

 

Aditi Samarth

The Survival of Hindu Cremation Myths and Rituals in 21st-Century Practice:

Three Contemporary Case Studies

The dissertation is a comparative, cross-disciplinary study of cremation myths and rituals in three distinctly different Hindu diaspora communities of Bali, Mauritius, and Dallas. The dissertation is patterned upon Arnold Van Gennep’s theories of the rites of passage rituals and ceremonies, Victor Turner’s theories on liminal persons who are “betwixt and between” two states of existence, and Mary Douglas’s view of death as “sacred-pollution” to be treated with reverence to harness pollution’s full positive impact, thus transforming the “undifferentiated chaos of death” into structural pattern for the living. Cremation rituals (persons, performance, time, objects, symbols, aesthetics, structure, and placement) act as a symbolic bridge to connect the dead from this world to the next, so that the survivors may protect themselves and harness the blessings of the deceased as an ancestor.

The dissertation (1) situates Hindu cremation rituals within the context of ritual studies, (2) identifies the structure and symbolism in each of the three iterations of the cremation ritual, (3) compares and contrasts the three cremation practices, and (4) explains the continuity and change in the three cremation rituals to identify the non-negotiable aspects of a Hindu cremation. The dissertation answers two questions: “What is the myth and ritual of the Hindu Agni Sanskar (fire rite or ritual, or cremation)?” and “What adaptations enable the myth and ritual to survive and continue outside of its original “mother” India culture, in the three distinctly different diasporic Hindu communities of Bali, Mauritius, and Dallas?” The dissertation adds to the existing discourse on a growing global Hindu identity, focusing on shared rituals of what remains of the “mother” India culture in diaspora settings?

 

 

 

Fatemeh Tashakori

Reverse Orientalism: The Westerner as the Other in Persian paintings of the Safavid dynasty

 After Edward Said, in numerous dominant oriental discourses, many scholars have argued that in orientalist paintings, the depiction of Eastern nude or semi-nude women in private spaces such as Turkish baths and harems have aimed to fetishize and eroticize Eastern women for the pleasure of European male voyeur. It seems the exact same process occurs in the Islamic world and I aim to pursue whether such “reverse Orientalism” can be identified in the Ottoman and Safavid era and beyond.

In this regard it seems what Said and other critics of Orientalism have put forward against the West and the Western art academia is not limited to such Western circles, but is a stance widespread even in the East. This can especially be seen in Eastern paintings of the West, namely the depiction of Western women and young men in the late Safavid period in Iran. These paintings illustrate the same tendencies Said and other orientalist critics say Westerners have about the East.

Tendencies such as the fetishism of the other culture especially the other culture’s women, the objectifying of the other peoples and in general portraying the otherness of a foreign culture through depiction can be clearly shown in many examples of Safavid paintings. Hence, what Said and others have stated against orientalist tendencies in art and literature, seems not solely a western phenomenon, but rather an occurrence that is widespread even among Easterners. In my dissertation I attempt to illustrate how Safavid paintings fetishize and create an “Other” when depicting Westerners, namely Western women and young men.

In the course of the late Safavid period, sixteenth century to the end of the seventeenth century, Westerners started to visit Iran, Persian artists discovered the potential of these exotically dressed foreigners as a motif for their miniature paintings. Based on an argument that shows the creation of “Otherness” is not solely a Western colonial creation, I theorize Otherness in the arts and the academia is a product of “exoticism” of the other cultures which should not be confined to the West. Studies on Persian paintings of the late Safavid period distinctly exhibit the stylistic development and invention of new painterly compositions and motifs. The considerable prevalence of themes such as nude women, single figures instead of group scenes, and European individuals in paintings are among those characteristics that set this period apart from Iran’s past artistic tradition. Depiction of young men costumed in European dress became a significant genre in the first half of the seventeenth century in Iran. Historically speaking, this period of time in Iran is when European foreigners began to visit Persia.

In sum, I aim to explore these ideas, which I have already found connections among them through my research and studying, in paintings of the Safavid dynasty and its continuous existence in the contemporary art of Iran.

In regard to this new era influenced by encountering a new Western culture I try to answer the following questions: What was it that made young men in European dress so popular in Safavid paintings? Given the fact that in the 16th and 17th centuries of Iran, Isfahan, the capital city of the Safavid dynasty, had become a cosmopolitan center, and Persians extended a warm welcome to foreigners particularly European visitors, can one assume that the depiction of these beautifully dressed young men clad in European grab made them pleasurable and erotically desirable as exotic objects to Persians’ aesthetic taste? Moreover, does the nature of being politically dominant or more powerful have an influence on who would potentially fetishize the other culture as an exotic object for the sake of desire?

 

Edleeca Payne Thompson

African Art on View: Mediating Transnational Histories in FOUR METROPOLITAN ART MUSEUMS

African art collections have always presented interesting challenges with display and interpretation. Museum collections of African art, and inherent association with European colonialism, further complicate the historical contexts necessary for understanding the art. In addition, displaying African art reflects a museum’s role in shaping African cultural identity within the broader contexts of world art and cultural history. My dissertation explores the politics of displaying African art and the ways museums mediate the formal presentation of the art between its contextual significance and the meaning for which it was originally produced. Within this environment are cultivated specific transnational historical constructs profoundly integral to understanding the evolution of the display and interpretation of African art in museums. While European interests in Africa were fueled by colonialism, trade, and aesthetic appropriations leading to Modernism, American interests revolved around economic issues of human slavery, civil rights, and racism. By comparing and contrasting institutions with disparate colonialist histories, this research seeks to uncover potential approaches to the interpretation of African art outside of the historical parameters informing current formalist-driven displays.

The museums and the attendant cities selected for this study represent distinct collection foci, exhibitionary practices, audience demographics, and historical cultural contexts with respect to African art: the Musée du quai Branly, Paris; The Metropolitan Museum of Art, New York; the Rautenstrauch-Joest Museum, Cologne; and the Dallas Museum of Art. The colonial and art historical engagement of the cities within which these selected museums reside also provides institutional structures through which the display of African art has been interpreted. Analysis of museum mapping, collections adjacency, object groupings, and attendant programming are all relevant points of departure for discussions on whose history these museums emphasize in their displays of African art. In addition, this study will evaluate methods museums have used to choreograph the visitor experience with African art through the use of object-centered and cross-cultural displays as well as those incorporating virtual technologies and social media.

I argue that displays of African art that are more inclusive of the transnational histories informing its production sharpen understanding beyond aestheticism and nullify the boundaries of institutional constructs of blackness and the African diaspora. This study seeks to offer a roadmap for museums to explore more innovative ways of displaying works far removed from their cultural contexts in order to impart deeper meaning for audiences largely distanced from them.

 

Completed Dissertation

Elizabeth Ranieri

THE BASILICA OF SAN DOMENICO MAGGIORE IN NAPLES: THE ART, TRADITION, AND POWER OF A SACRED SPACE 

This dissertation examines the art, literature, and history of the Basilica of San Domenico Maggiore in Naples, Italy, and the way in which this sacred space has been imbued with meaning by the Order of Preachers. The dissertation establishes a framework of sacred space theory and historical context of medieval and early modern Naples. It argues that places are sacrilized through a combination of person, place, and text—all three of which are evident at San Domenico Maggiore. It examines the pertinent first-person writings about the sacred space from the archives and guidebooks by both lay and Dominican authors.

The dissertation discusses the early history of the Dominicans and their medieval iconography, paying particularly close attention to Thomas Aquinas and his tenure in Naples, but also to the ways that the Dominicans and their donors used imagery derived from the history and legends surrounding Aquinas’ life—especially the years spent at San Domenico Maggiore—to decorate the space and to attract pilgrims. It explores the systems of early modern patronage of the sacred space by examining specific chapels and artworks. It examines the diffusion of the imagery of the Virgin of the Rosary in early modern Naples and the ways in which the Council of Trent influenced art-making in sacred spaces. It also provides a visual analysis of the Chapterhouse and Sacristy situated within the convent complex and demonstrate how the two spaces use Dominican and site-specific visual rhetoric to represent Dominican agency in these rooms.

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

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

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

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

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

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

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

The program will welcome its first class in Fall 2018.

Applications are due January 15, 2018. 

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

EODIAH Fellow Edleeca Thompson at Symposium on African Art in Ghana

This past August, Edleeca Thompson, PhD Humanities Candidate and O’Donnell Institute Fellow, spent two weeks in Accra, Ghana, for the 17th Triennial Symposium on African Art. The Symposium was sponsored by the Arts Council of the African Studies Association (ACASA) and Brookhaven College and hosted by the Institute of African Studies, University of Ghana, Legon. This was the first time in its 50-year history that the conference has been held in Africa and about 400 scholars, art historians, archaeologists, curators, and teachers from all over the world were in attendance. The Conference was particularly relevant for Edleeca’s work exploring the politics of displaying African art and the ways museums mediate presentation of the art between its contextual significance and the meaning for which it was originally produced.

Institute of African Studies, University of Ghana

Traveling with Dr. Roslyn Walker, Chief Curator and the Margaret McDermott Curator of African Art at the Dallas Museum of Art, Edleeca attended a variety of lectures and talks including topics on African art history, Diaspora studies, contemporary African visual arts and performance, museum and collections practices, as well as other fields pertaining to African life and culture.

While in Accra, Edleeca also attended the opening reception for Phyllis Galembo’s Fancy Dress Masquerade exhibit at the Kempinski Hotel Gold Coast City, and visited many contemporary artists’ studios and galleries. In addition, Edleeca visited Cape Coast Castle, Kwame Nkrumah University of Science and Technology in Kumasi, the Manhyia Palace and Prempeh II Museum, Bonwire Kente Village, and the famous Kente cloth and bronze casting workshops in the Ashanti region of Central Ghana.

 

Melinda McVay Presents Talk on John Yeon at Portland Art Museum

 

Melinda McVay presents findings from her dissertation in a talk at the Portland Art Museum.

Former Edith O’Donnell Institute of Art History Fellow Melinda McVay presented findings from her dissertation “The Politics of Display—Architects and Museums: John Yeon, James Speyer, and Lina Bo Bardi” in a talk at the Portland Art Museum.

In addition to the homes that Portland native John Yeon designed that helped define regional modernism in the Pacific Northwest, he also created pristine, serene environments for museums in Portland, San Francisco, and Kansas City.

McVay’s talk examined this lesser-known aspect of Yeon’s work, in particular his interpretation of Asian architectural settings for museum displays, and was the last talk in conjunction with the PAM’s exhibition, Quest for Beauty: The Architecture, Landscapes, and Collections of John Yeon (May 13 – Sep. 3, 2017), a retrospective look at an Oregon original.

The Museum presented a variety of public programs and tours in conjunction with the exhibition, including the opening lecture by distinguished curator and architecture scholar Barry Bergdoll. Quest for Beauty is accompanied by two books published by the Yeon Center with Monfried Editions, John Yeon: Architecture and John Yeon: Landscape.

 

Richard Louis Brown (sitting), Yeon’s lifetime partner, and his new partner, Thomas Carson Mark (center), and Melinda McVay (right) at Yeon’s Jorgensen house.

SMU Distinguished Professor of Art History Emerita Alessandra Comini Updates

The first half of 2017 has been very good to me. Three of my scholarly books were brought out in new editions (Schiele in Prison, Egon Schiele, Gustav Klimt) and I published another crime novel, The Kollwitz Calamities in my Megan Crespi Series. This is my first Krimi in which a WOMAN artist is the subject!

April saw me in Europe for three lectures in Austria and one in Switzerland, plus being featured in two separate documentary films about my 1963 discovery of the 1912 prison cell of Egon Schiele. Here below is a photo of the discoverer in that (refurbished cell, now a museum) still alive in 2017.

Dr. Alessandra Comini visits the 1912 prison cell of Egon Schiele.

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.

Crow Collection of Asian Art Events and Lectures

The Crow Collection of Asian Art has many exciting events this Fall.  Explore their calendar at Crow Collection of Asian Art Fall 2017 Events & Lectures

Invisible Cities Forum

October 14 @ Crow Collection | 1 – 6 PM

Price: $12 for 1 – 6 PM for public; free for members

Parking: $5 (free for members)
Capacity: 60

 

Artist 2 Artist Brunch
11 – 12:30 PM | Annex

Brunch: $25 for public; $15 for members
Capacity: 30

Includes performances and lectures by:

Ho Rui An (Singapore), Dash
Moe Satt (Myanmar)
Come Inside collective (Hong Kong)

Beer (or softdrink) & Pretzels in Skybridge

Screening & Talk by Ho Tzu Nyen (Singapore)

Panel Discussion with Q&A

 

Jade Ball 2017 at Belo Mansion 

Sat Oct 07 2017

6:00 pm — 11:45 pm

On Saturday, October 7, 2017, the Crow Collection of Asian Art presents an extraordinary event for the museum and its many supporters and friends—the INAUGURAL JADE BALL.

Please join Ball Chair Robert Weatherly and Honorary Chair Lynn McBee for this first annual celebration. With a name inspired by the Qing Dynasty Jades that make up the heart of the museum’s collection, the JADE BALL was created as a fundraising effort to help the museum expand its impact and ensure its sustainability.

Beginning at 6pm with a cocktail reception, followed by a black-tie dinner for 400 guests, the JADE BALL promises a magical grand entrance, unique entertainment, networking, art experiences and delightful surprises throughout the evening inspired by the theme of CHINA. #crowjadeball

 

Fall Events Calendar

The Warehouse Presents DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES

Félix González-Torres, Untitled (Perfect Lovers), 1987-1990, Dallas Museum of Art, fractional gift of The Rachofsky Collection

 

DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES

July 10 – December 29, 2017

 

In the short story “William Wilson,” Edgar Allan Poe presents the sinister tale of a character who from his childhood encounters a figure that resembles him in every way. The apparition haunts him with similitude and repetition—until it turns out to be himself. It is the doppelgänger, or double, a recurring figure in literature (from Dostoyevsky to Borges) and in all the arts. The very act of representing oneself or the other can be understood as creating parallel realities, thus doubles of those in which we live.

 

The exhibition DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES takes this literary figure as a starting point to create an inventory of artworks in which alterity and duplicity are manifested. In a succession of galleries, the theme is developed into different groupings of works—from forms of representation that occur through replicas, shadowing, and mirroring to logical-formal exercises that are expressed by the use of halves and doubles in geometric abstraction. Works from the African and ancient American art collections at the Dallas Museum of Art have been incorporated into the show and bring complexity to the role of representation and representatives in object making throughout art history.

 

The title of the exhibition involves a play on words drawn from three languages: English (the de facto national language), Spanish (the language of the Other), and Portuguese (my language). Doubles (the original term), dobros (Portuguese for “two times something”), pliegues (Spanish for “folds,” or, in Portuguese, dobras, the feminine counterpart of dobros), pares (“pairs”), twins, and mitades (“halves”).

 

DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES draws works from The Rachofsky Collection, Dallas Museum of Art, Collection of Marguerite and Robert Hoffman, Collection of Marguerite Steed Hoffman, Deedie Rose, and Jennifer and John Eagle.

 

Rodrigo Moura

Exhibition Curator

Meadows Museum Exhibitions and Lectures

Pablo Picasso (Spanish, 1881-1973), Still Life in a Landscape, 1915. Oil on canvas. Meadows Museum, SMU, Dallas. Algur H. Meadows Collection, MM.69.26. Photo by Michael Bodycomb. © 2016 Estate of Pablo Picasso/Artists Rights Society (ARS), New York.

 

Picasso/Rivera: Still Life and the Precedence of Form

August 6 – November 5, 2017

During the run of his first solo exhibition at the Paris gallery of Berthe Weill in spring 1914, Mexican artist Diego Rivera (1886-1957) had an opportunity to visit Pablo Picasso (1881-1973) in his Paris studio. Rivera recounts this solemn rite of passage:

“I went to Picasso’s studio intensely keyed up to meet Our Lord, Jesus Christ.… As for the man…a luminous atmosphere seemed to surround him.… Picasso asked me to stay and have lunch with him, after which he went back with me to my studio. There he asked to see everything I had done from beginning to end.… [W]e had dinner together and stayed up practically the whole night talking. Our thesis was Cubism – what it was trying to accomplish, what it had already done, and what future it had as a ‘new’ art form.”

– from D. Rivera, My Art, My Life

 

The Zurbaran paintings and other works hanging in Auckland Castle’s Long Dining Room. Photo by Colin Davison. © Auckland Castle Trust/ Zurbarán Trust

Zurbarán: Jacob and His Twelve Sons, Paintings from Auckland Castle

September 17, 2017 – January 7, 2018

This exhibition marks the first time these precious holdings will be presented in America, and only the second time in history that they leave Auckland Castle, a unique opportunity to admire a rare assemblage of Zurbarán’s oeuvre. A major study of the series is being undertaken that will include a meticulous technical analysis of all the paintings as well as the publication of a catalogue with essays by a number of specialists. After its presentation at the Meadows Museum the works will be featured at The Frick Collection in New York, the only other venue for this exhibition.

Lectures

On Friday, October 20, Nancy Cohen Israel will be presenting the gallery talk Dressing the Part: Reflected Prophecies in Zurbarán’s Sons of Jacob at the Meadows Museum.

The lecture will begin in the galleries of the Meadows Museum at 12:15 pm. It is free with regular Museum admission.

 

 

Nasher Sculpture Center Events and Speaker Series

The artists in Paper into Sculpture, including Marco Maggi, Joshua Neustein, Nancy Rubins, and others, play on tensions between commonly held understandings of sculpture and what paper can and cannot do, pushed to physical limits.

360 Speaker Series: Panel Discussion

Paper Into Sculpture

October 14, 2017
11 am

The artists in Paper into Sculpture, including Marco Maggi, Joshua Neustein, Nancy Rubins, and others, play on tensions between commonly held understandings of sculpture and what paper can and cannot do, pushed to physical limits.

Open to the public. Free with admission. Free for Members. Free for Students with ID. Complimentary wine reception with RSVP.

 

Treating paper as a material with a palpable three-dimensional presence rather than as a mere support for mark-making, they use processes ranging from tearing, crumpling, and cutting to scattering, binding and adhering to create sculptural works that take a variety of forms, with a varied range of expressive and conceptual implications. Even as the shift to digitized images, virtual reality, and social media has been said to herald its obsolescence, paper nonetheless remains inescapable in our daily lives.  Accessible to all, paper endures as the site of notes, lists, price tags, reminders, sketches, ads – at once the most mundane and the most intimate of communication media, and the most readily discarded.  As concerns about humanity’s impact on the environment intensify, paper is also one of the most persistent reminders of our connections to nature through the cyclical aspect of its creation, disposal, and regeneration through recycling.  Derived largely from plants fibers, paper also ages and degrades, its fragility inspiring metaphorical associations with human corporeality and vulnerability.

Soundings: New Music at the Nasher

Paddle to the Sea (World Premiere)

October 18, 2017
7:30 p.m.

2017-2018 Soundings: New Music at the Nasher season tickets are now on sale. Individuals tickets will be made available one month prior to the performance.

This world premiere of Third Coast Percussion’s new performance project based on the classic children’s book and Academy Award-nominated film Paddle to the Sea. Looking at our relationship to the bodies of water that connect our lives, Paddle to the Sea tells the story of a Native Canadian boy who carves a wooden figure called Paddle-to-the-Sea and sets him on a journey through all five Great Lakes, the St. Lawrence River, and finally to the Atlantic Ocean. The story underscores the geographic, economic, and cultural connections formed by our shared waterways, and asks us to consider the human impact on the waters that help us transport our goods, provide our electrical power, bathe ourselves, cook our food, and quench our thirst.

Providing a live “soundtrack”, Third Coast Percussion performs works inspired by impressions of water and the natural world by Philip Glass, Jacob Druckman, traditional music of the Shona people of Zimbabwe, and music of its own, creating a performance that flows seamlessly throughout the course of the film.

This project was the brainchild of Tom Welsh, Director of Performing Arts at the Cleveland Museum of Art. It was developed at Third Coast Percussion’s Yellow Barn Artist Residency in October 2016.

 

Tom Sachs: Tea Ceremony presents Sachs’ distinctive reworking of chanoyu, or traditional Japanese tea ceremony—including the myriad elements essential to that intensely ritualistic universe. In the Nasher’s indoor galleries, Sachs will set a tea house in a garden accessorized with objects of use and contemplation, all made from commonplace materials easily procured at local art supply stores or through the McMaster-Carr hardware catalogue.

Tea Ceremony and Tour with Johnny Fogg

October 21, 2017 11 a.m. and 3 p.m.; November 18, 2017 3 p.m.; November 19, 2017 11 a.m.; December 9-10, 2017 11 a.m. and 3 p.m.

Tom Sachs’s friend and colleague in tea, Johnny Fogg, will give an informative tour of the tea garden and will perform tea ceremony.

During the course of the exhibition, Tom Sachs’s friend and colleague in tea, Johnny Fogg, will perform tea ceremonies. The tea ceremony is an intimate experience. The teahouse can accommodate only 2 to 3 guests to take part in the tea ceremony, but the walls of the teahouse will be removed, enabling all visitors to observe the ceremony. Tea ceremony audiences are limited to 30 visitors. The performance will last 1.5 hours, with a question and answer session following the performance.  Teahouse guests for each performance will be decided by lottery. If you are interested in participating in the ceremony as a guest in the teahouse, you will receive instructions on how to do so after making your reservation.

$10 for non-Members. FREE for Members.

 

Nathan Carter and The DRAMASTICS

The DRAMASTICS: A Punk Rock Victory Twister in Texas

Exhibition viewing, film screening and performance.

October 26, 2017

Film screening at 10:30 p.m.

Performance at 11 p.m.

In a fantastical cornucopia of color, form, and gesture, Nathan Carter presents the story of a fictional punk rock band who call themselves The DRAMASTICS. The band and the world Carter created for them are the focus of his first video titled The DRAMASTICS are Loud AF (2016), which tells the story of the group’s rise to stardom in a series of vignettes, starting with The DRAMASTICS’ formation at Booker T. Washington High School in Dallas and ending incredibly with a world tour finale in Paris. Carter’s choice of unlikely video subject—an all-girl punk rock band—was inspired by his love for such rock groups as The Slits, Blondie, and Bikini Kill, as Carter describes, “I wanted to be around sweaty, angry punk rock women. It’s as simple as that.” To create the video, Carter wrote a script based on his observations of teenage chatter to ensure that the dialogue mimicked the speaking patterns, colloquialisms and coded language of the characters he was creating. He also wrote and recorded all of the music and constructed dioramas as scenes for his paper cutout characters to inhabit. For his exhibition in the Nasher’s Corner Gallery, Carter presents this video, together with a selection of dioramas that transport the viewer into the colorful and chaotic world of The DRAMASTICS.

360 Speaker Series: Nathan Carter

Exhibition Artist

October 27, 2017
11 am

Artist Nathan Carter will speak about his Nasher exhibition The DRAMASTICS: A Punk Rock Victory Twister in Texas, a fantastical cornucopia of color, form and gesture: an alternate realm that combines the story of Nathan Carter’s fictional punk rock band, which originates at Booker T. Washington High School, with his own studio productions and activities.

This program will take place in the Montgomery Arts Theatre at Booker T. Washington High School for the Performing and Visual Arts

Open to the public. Free with admission. Free for Members. Free for Students with ID. Complimentary wine reception with RSVP.

With the introduction of figuration in to his work, the artist presents his first film titled The DRAMASTICS Are Loud AF, first debuted at the MCA Denver in fall 2016. The film chronicles the adventures of The DRAMASTICS, a punk band made out of paper and wire cutout figures set in dioramas. For his exhibition in the Nasher’s Corner Gallery, Carter will present his film with the dioramic environs created for the film in an amalgam of textiles, collages, works on paper, and a full-size sound stage, on view from October 27 to December 31, 2017.

Nathan Carter Biography

Nathan Carter (b. 1970) was born in Dallas and now lives and works in Brooklyn, NY. He received his MFA from the Yale University School of Art and has held solo exhibitions at institutions such as Museum of Contemporary Art, Denver; Blaffer Art Museum, Houston; Museo de Arte Raul Anguiano, Guadalajara, Mexico; and ArtPace, San Antonio.

360 Speaker Series: Tauba Auerbach

Artist

November 11, 2017
2 pm

San Francisco-born, New York-based artist Tauba Auerbach has described her work as an attempt to reveal “new spectral and dimensional richness…both within and beyond the limits of perception.”

Open to the public. Free with admission. Free for Members. Free for Students with ID. Complimentary wine reception with RSVP.

Engaging a variety of media, ranging from painting and photography to book design and musical performance, Auerbach explores the limits of our structures and systems of logic (linguistic, mathematical, spatial) and the points at which they break down and open up onto new visual and poetic possibilities.

Tauba Auerbach studied at Stanford University and has had numerous solo exhibitions including Institute of Contemporary Arts, London, UK; Bergen Kunsthall, Norway; Malmö Konsthall, Sweden; Wiels Contemporary Art Center, Belgium; Wattis Institute for Contemporary Art, San Francisco, CA; as well participated in numerous group exhibitions in institutions such as the Academy of Arts, Architecture, and Design, Prague, Czech Republic; National Museum of Women in the Arts, Washington, D.C.; SFMOMA, San Francisco, CA; and Musee D’Art Moderne, Paris, France. She also runs the press and publishing houe Diagonal Press.

A Space Program Film Screening

December 10, 2017

In A Space Program, artist Tom Sachs takes us on an intricately handmade journey to the red planet, providing audiences with an intimate, first-person look into his studio and methods. The film is both a work of art in its own right and a recording of Sachs’s historic performance, Space Program 2.0: MARS, performed at New York’s Park Avenue Armory in 2012.

A Space Program

A Film by Tom Sachs and Van Neistat

2015

72 minutes runtime

In A Space Program, artist Tom Sachs takes us on an intricately handmade journey to the red planet, providing audiences with an intimate, first-person look into his studio and methods. The film is both a work of art in its own right and a recording of Sachs’s historic performance, Space Program 2.0: MARS, performed at New York’s Park Avenue Armory in 2012.

For Space Program 2.0: MARS, Tom and his team built an entire space program from scratch. They were guided by the philosophy of bricolage: creating and constructing from available yet limited resources. They ultimately sent two female astronauts to Mars in search of the answer to humankind’s ultimate question: Are we alone?

The film also contains the origins of Tom Sachs: Tea Ceremony: The two astronauts turn to tea ceremony to resolve a conflict between them and establish civilization on the red planet.

Directed by Van Neistat.

FREE with Admission.
FREE for Nasher Members.

 

Kimbell Art Museum Exhibitions and Lectures

Jean-Honoré Fragonard
French, 1732–1806
The See-Saw
c. 1750–52
Oil on Canvas
Museo Thyssen-Bornemisza, Madrid

 

 

Casanova: The Seduction of Europe

August 27, 2017 to December 31, 2017

Louis I. Kahn Building

Casanova: The Seduction of Europe explores the 18th century across Europe through the eyes of one of its most colorful characters, Giacomo Casanova (1725–1798). Renowned in modern times for his amorous pursuits, Casanova lived not only in Italy, but in France and England, and his travels took him to the Ottoman Empire and to meet Catherine the Great in Saint Petersburg. Bringing together paintings, sculpture, works on paper, furnishings, porcelains, silver and period costume, Casanova will bring this world to life.

 

Lectures

OCTOBER 13, 6 pm (Friday Evening Lecture Series)

Oysters and Champagne: Dining with Casanova

Meredith Chilton, chief curator, Gardiner Museum, Toronto

 

 

OCTOBER 18, 12:30 pm (Wednesday Series: Art in Context)

Painted Ladies in Casanova’s Time

Jessica L. Fripp, assistant professor of art history, Texas Christian University, Fort Worth

 

 

OCTOBER 28, SATURDAY, 11 am (The Artist’s Eye Series)

The Artist’s Eye

Joseph Havel, Houston

 

 

NOVEMBER 10, 6 pm (Friday Evening Lecture Series)

Casanova and the Theater of the World

Ian Kelly, historian, writer, and actor, London, United Kingdom

 

 

NOVEMBER 15, 12:30 pm (Wednesday Series: Art in Context)

Ballet, Body Language, and Casanova

Catherine Turocy, choreographer, dance historian, and director, New York Baroque Dance Co., Dallas and New York

 

 

DECEMBER 8, 6 pm (Friday Evening Lecture Series)

Casanova in Hogarth’s London

Duncan Robinson, director emeritus of the Fitzwilliam Museum, Cambridge, United Kingdom, and former director of the Yale Center for British Art in New Haven, Connecticut

 

 

DECEMBER 9, SATURDAY, 11 am (The Artist’s Eye Series)

The Artist’s Eye

Etty Horowitz, Fort Worth

Amon Carter Museum of American Art Exhibition and Lectures

Wild Spaces, Open Seasons: Hunting and Fishing in American Art

October 7, 2017–January 7, 2018

George Bellows (1882-1925); The Fisherman; 1917; Oil on canvas; Amon Carter Museum of American Art, Fort Worth, Texas; 2016.9

 

Wild Spaces, Open Seasons is the first major exhibition to explore the multifaceted meanings of such outdoor subjects in both painting and sculpture from the early nineteenth century to World War II. These aesthetically rich and culturally important works play an influential role in the history of American art.

In conjunction with the exhibition, Dr. Mark Thistlethwaite, Kay and Velma Kimbell Chair of Art History, Texas Christian University, is presenting a free lecture series called Americans Outdoors to consider the various ways and reasons why artists have depicted Americans in their urban, rural, and wilderness environments. The lectures are every Wednesday through November 29 (except Thanksgiving week) and held at the Amon Carter Museum of American Art in Fort Worth. Dates: October 4, 11, 18, 25 and November 1, 8, 15, 29.

The Modern Art Museum of Fort Worth Exhibitions

Misty Keasler, Blackthorne Manor, Terror on the Fox, Green Bay, WI, 2016

Misty Keasler: Haunt

Sep 23, 2017 – Nov 26, 2017

Thirteen themed haunted houses across America make up the imagery for Misty Keasler’s Haunt, 2015–2017. A driving force behind this series, which depicts interior rooms and exterior scenes, is that the subject matter takes photography to the edge of where it fails as a medium.  “Photographs,” Keasler explains, “are often used to document an experience, yet the experience of walking through a haunted house is completely lost in each of the still images. Also, the houses use sound, including fear frequencies, to unnerve you at a biological level; darkening effects, like lighting a house almost entirely with flashes of lightning; smells, like the very distinct smell of death, or cheap perfume—and these sensory components are missing. The tension in knowing any number of characters are waiting in the dark to jump out at you is lost in these images as well—the immersive experience just does not translate.” Where photography fails, however, is the point at which Haunt, detailing the various Baroque themes of the houses, creates another type of tension.  It allows lingering looks—something that is not possible at actual haunts where visitors are shuttled through on a forced and darkened path—and, the more we look, the more terrifying the scenes become.

Approximately 40 photographs (out of 104) that feature American haunted houses are included in this exhibition. These photographs are unpopulated, apart from a few gory figurative props such as severed heads, monsters, and dead bodies. Without people, the rooms themselves, in their display of psycho-narratives, become captivating portraits of persona. Who would put these rooms together this way? Who makes up the market for such places, paying to be scared? And what does this say about American culture?

Of this exhibition, senior curator Andrea Karnes says, “The imagery in Haunt is both beautiful and horrific, but moreover, the series magnifies the strangeness of the existence of such places, where fantasies are manifested. People desire, and will pay for, the sensation of fear, and that is a surprising and provocative revelation that comes out in these works.”

In addition to the photographs of haunts, this exhibition includes a separate series of approximately 15 portraits (out of 40) of haunted house actors in monster costumes.

Misty Keasler’s work is included in the permanent collections of the Museum of Fine Arts in Houston, Dallas Museum of Art, Museum of Contemporary Photography in Chicago, Kiyosato Museum of Photographic Arts in Japan, and the Ogden Museum of Southern Art. She holds an undergraduate degree from Columbia College and an MFA from Bard College. She lives and works in Dallas, Texas.

 

 

Katherine Bradford, Surfer, 2015, acrylic on canvas, 72 x 55 inches

FOCUS: Katherine Bradford

Nov 04, 2017 – Jan 14, 2018

Katherine Bradford is known for her vibrant palette, faux-naïf style, and eccentric compositions. Often built up over months and sometimes years, Bradford’s paintings are textured, semi-transparent coats of acrylic paint, with hints of pentimenti exposed in the finished surface. Her recent works revisit several of her favored motifs, such as ships and swimmers—traditional and enduring subjects seen throughout art history. Bradford’s canvases, however, are more ominous, and often improbable in comparison to the relative calm of James McNeill Whistler’s paintings or Paul Cézanne’s portraits of bathers. In her works, ocean liners collapse in the night sea, beachgoers and swimmers populate fearsome expanses such as ebbing waters and outer space, and sea monsters, as in Large Ocean Painting, 2016, rear their heads above a crowded ocean. Bradford’s work suggests humanity humbled by the vastness of nature.

While simple in form, her ongoing series of nocturnal paintings exhibits a range of colors, such as orange, neon green, and pink-violet, that glow and illuminate the otherwise dark scenes. In Pond Swimmers, 2016, the only source of light is emanating from the swimmers’ orange-pink skin. Two figures in the work are set within a dense blue-purple pond, while one man in the foreground lies on a sliver of beach under the night sky. As with most of her paintings, the subjects in Pond Swimmers are pared down, fragmented, and faceless, which suggests the anonymous everyman. FOCUS: Katherine Bradford is the artist’s first solo exhibition in Texas and features new and recent paintings.

Katherine Bradford was born in New York City and is currently based in Brooklyn. She received a BA from Bryn Mawr College in Pennsylvania and an MFA from the State University of New York at Purchase. Bradford has been included in important group exhibitions both nationally and internationally, at such venues as MoMA PS1, Long Island City, New York; Yale School of Art, New Haven; and the Pennsylvania Academy of the Fine Arts, Philadelphia. Her work is in several public collections, including The Metropolitan Museum of Art, New York; Brooklyn Museum; Portland Museum of Art, Maine; Worcester Art Museum, Massachusetts; Pennsylvania Academy of the Fine Arts, Philadelphia; and Smith College Museum of Art, Northampton, Massachusetts.

Exhibition Highlight: JD Miller: Absence of Color

JD Miller, Impermanence, 3D Oil on Canvas, 48” x 48”

Samuel Lynne Galleries Presents 

JD Miller: Absence of Color

October 14, 2017 to November 11, 2017

Opening reception Saturday, October 14th

5:00pm to 8:00pm

Miller is a full-time painter and gallery owner in the Dallas Design District. His artistic career began as he focused on perfecting the techniques of the master oil painters, and later merged various artistic techniques and mediums as his creative vision took shape. Standing on the shoulders of some of the great impressionists like Monet and Renoir, the post-impressionist Van Gogh and the revolutionary cubism of Picasso and Matisse, JD Miller takes the impasto technique to an extreme – nearly to the extent of creating a 3D sculpture on the canvas with small mountains of rich, striking oil colors and textures.

Drawing from influences in psychology and spirituality, Miller founded Reflectionism. Reflectionism combines a philosophy of art and a style of painting that is grounded in Asian mindfulness meditation practice while utilizing the New Thought philosophy, the law of attraction. The law of attraction is the belief that by focusing on positive or negative thoughts and feelings a person brings positive or negative experiences into their life. This belief is based on the idea that people and their thoughts are both made from “pure energy” and through the process of “like energy attracting like energy” a person can improve their own life experience.

Samuel Lynne Galleries

1105 Dragon Street, Dallas Design District

Dallas 75207

M – S 10:00 am to 5:00 pm

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

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

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

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

Visit their website.

 

 

Fall Symposium in Naples: A collaboration between the O’Donnell Institute and the Museo di Capodimonte

Napoli e il Museo e Real Bosco di Capodimonte

in un contesto mondiale  

12-14 Ottobre 2017

 

 

Giovedì 12 Ottobre

Museo e Real Bosco di Capodimonte

 

9.00                 Punto di incontro al museo (cortile adiacente la biglietteria)
registrazione partecipanti con distribuzione materiale e pass

9.45                 Partenza shuttle per il Cellaio

 

IL CELLAIO

10.00               Caffè di benvenuto

10.30               Saluti introduttivi

                        Sylvain Bellenger (Direttore Museo e Real Bosco Capodimonte)

                        Sarah Kozlowski (Assistant Director, The Edith O’Donnell Institute of Art History)

                        Barthélémy Jobert (Presidente Università Paris-Sorbonne)

                        Pietro Spirito (Presidente Autorità di Sistema Portuale del Tirreno Centrale)

11.00-11.40     Il porto di Napoli nel Mediterraneo

Olaf Merk (Administrator Ports and Shipping at the International Transport Forum (ITF) of the

OECD)

Sergio Arzeni (President, International Network for SME, Rome; Executive Member, Global

Coalition for Efficient Logistics, Geneva; Former Director, OECD)

11.40-11.50     Breve introduzione alla storia del Bosco di Capodimonte

                        Carmine Guarino e Salvatore Terrano (Università degli Studi del Sannio)

12.00               Shuttle dal Cellaio verso il Giardino Torre

                         Passeggiata guidata nel Bosco di Capodimonte fino al Giardino Torre

                        Carmine Guarino e Salvatore Terrano (Università degli Studi del Sannio)

12.45-13.45     Pranzo al Giardino Torre

13.45               Ritorno al Cellaio con shuttle

14.00               Caffè

14.15               Inizio lavori

Introduce e coordinano Sarah Kozlowski (The Edith O’Donnell Institute of Art History) e

                       Elizabeth Ranieri (The Edith O’Donnell Institute of Art History)

14.30-15.00    La Chiesa di San Gennaro a Capodimonte

                       Maria Gabriella Pezone (Università della Campania “Luigi Vanvitelli”)

15.00-15.30     Spain, Rome, and the Planning of Capodimonte

                         Robin Thomas (Pennsylvania State University)

15.30-16.00     The Royal Palace of Capodimonte: A Symbol of Power in its Urban Context

                         Alba Irollo (Bruxelles)

16.30               Ritorno al Museo di Capodimonte (con shuttle) o visita a San Gennaro e La Capraia (a piedi)

16.45               Visita facoltativa al Museo di Capodimonte (aperto fino alle 19.30)

 

 

Porto

 

19.30               Cena di benvenuto al Porto, con saluti delle autorità:

Antimo Cesaro (Mibact, Sottosegretario)

                       Vincenzo de Luca (Regione Campania, Presidente)

                        Luigi De Magistris (Comune di Napoli, Sindaco)

 

Saluti e ringraziamenti, Richard Brettell (Director, The Edith O’Donnell Institute of Art History)

 

 

Venerdì 13 Ottobre

Museo di Capodimonte

 

GALLERIA NAPOLETANA/2° piano

 

9.00                 Saluti: Sarah Kozlowski (The Edith O’Donnell Institute of Art History)

 

9.05                 Introduce e coordina Pierluigi Leone de Castris (Università degli Studi Suor Orsola Benincasa)

 

9.15-9.45         Fragments of Liturgy: the Jonah Slab and the Paschal Candlestick in of Capodimonte’s Collection in  

                         their Context

                        Manuela Gianandrea (Roma, Università La Sapienza) e Elisabetta Scirocco (Roma, Bibliotheca

Hertziana)

9.45-10.15       Stranieri a Napoli: il trittico di Sant’Antonio Abate di Niccolò di Tommaso

                        Teresa D’Urso (Università della Campania “Luigi Vanvitelli”)

 

10.15-10.45     Valencia, Naples, and the Netherlands: Colantonio’s Vincent Ferrer Altarpiece as a Product of

                          Cultural Transfer and Visual Translation Adrian Bremenkamp (Roma, Bibliotheca Hertziana)

 

SALA BURRI/2° piano sezione arte contemporanea

 

10.45               Caffè

 

11.00-11.30     L’Arte Contemporanea al Museo di Capodimonte

                        Andrea Viliani (Napoli, Museo MADRE)

 

11.30-12.00     Black Porosity: On Alberto Burri’s Grande Cretto

                        Riccardo Venturi (Parigi, Gerda Henkel Stiftung)

 

GALLERIA NAPOLETANA/Sala 102/2° piano

 

12.00-12.30     Silver: Surface and Substance

                         Helen Hills (York, University of York)
13.00-14.30     Pranzo, Trattoria da Luisa

 

 

APPARTAMENTO REALE/Sala 44 /1° piano

 

15.00-15.30     Foreigners and their Role in the Neapolitan Crêche

                        Carmine Romano (Université Paris-Sorbonne)

 

GALLERIA FARNESE/Sala 19/1° piano

 

15.30-16.00     Monstrorum historia: Agostino Carracci’s Arrigo peloso, Pietro matto, Amon nano

                           and the court of Cardinal Odoardo Farnese

Mary Vaccaro (University of Texas at Arlington)

 

WUNDERKAMMER/Galleria Farnese/1° piano

 

16.00-16.30     Collecting and the Circulation of Goods in Fifteenth-Century Naples

                         Leah Clark (The Open University)

16.30-17.00     La Circolazione delle Merci e delle Opere d’Arte nel Porto di Napoli del XVII Secolo

                        Gian Giotto Borrelli (Università degli Studi Suor Orsola Benincasa)

17.00               Visita facoltativa al Museo di Capodimonte (aperto fino alle 19.30)

 

Sabato 14 Ottobre

Museo di Capodimonte

                          

APPARTAMENTO REALE/Sala 60/1° piano

 

9.45                 Saluti: Sarah Kozlowski (The Edith O’Donnell Institute of Art History)

 

9.50                 Introduce e coordina Tanja Michalsky (Bibliotheca Hertziana)

 

10.00-10.30     Out of context: il tabernacolo di S. Patrizia come metafora dell’arredo                                

                           sacro tra committenza, tutela, commercio e musealizzazione

                         Sabina de Cavi (Universidad de Córdoba)

 

GALLERIA NAPOLETANA/Sala 104/2° piano

 

10.40-11.10     Emulation, Vainglory, and Failure: Paolo de Matteis’s Self-Fashioning

                        James Clifton (Museum of Fine Arts, Houston / Sarah Campbell Blaffer Foundation)

11.10-11.30     Caffè
GALLERIA NAPOLETANA/Sala 91/2° piano

 

11.30-12.00     Rustic Tidings: Reconsidering the Master of the Annunciation to the Shepherds

                        Jesse Locker (Portland State University)
12.00-12.30     Spaniards in Naples: Mobility and Identity in a Contact Zone

                          Fernando Loffredo (Washington, National Gallery of Art / Center for Advanced Study in the

Visual Arts)

13.00-14.30     Pranzo, Trattoria da Luisa
SALONE DEI CAMUCCINI/1° piano Appartamento Reale

 

15.00-15.30     Napoli e Cina

                         Lucia Caterina (L’Università degli Studi di Napoli “L’Orientale”)

15.30-16.00     Mattia Gasparini and the Salottino di Porcellana in a European Context

                         Tobias Locker (Universitat Pompeu Fabra, Barcelona)

16.00-16.30     Maria Amalia e il Salottino di Porcellana tra le corti di Sassonia, Polonia, e Italia

Agnese Pudlis (Royal Castle, Warsaw)

16.30-17.30     Visita facoltativa al Museo di Capodimonte (aperto fino alle 19.30)

 

CORTILE

 

17.30               Cocktail di chiusura

Saluti

Sylvain Bellenger (Direttore Museo e Real Bosco Capodimonte)

 

                        Conclusioni

                       Richard Brettell (The Edith O’Donnell Institute of Art History)