Category: Vol 4 Issue 1

Report of the Founding Director

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

We at the Edith O’Donnell Institute of Art History are readying ourselves for our fifth anniversary this coming fall semester, and we have pushed the reset button already. 

As of June 1, I will be succeeded as Director by Dr. Michael Thomas, Director of the Center for the Study of Ancient Italy at the University of Texas at Austin. 

A Dallas native, Michael had his secondary education at St. Mark’s School and matriculated to Duke University for his BA in Art History, followed by an MA at SMU, where he worked on Roman and Etruscan Art and Architecture under the direction of Dr. Greg Warden, and a Ph.D. at UT Austin on Roman Imperial Architecture under Dr. John Clarke. 

As a native Texan, Michael is familiar with the art historical traditions of the state, but is also a confirmed internationalist with major research project at Oplontis, a Roman site near Naples where he leads a major international study of what is  one of the largest and most important Roman villas ever discovered. Michael has also worked extensively at Etruscan and Roman sites in Tuscany. 

During the course of these projects, Michael’s experience includes significant collaboration with archeologists, architects, biologists, historians, geographers, and computer specialists on digital mapping and restoration. As such, he is ready to lead EODIAH, as an interdisciplinary art history institute at a STEM University, into the future.  

Michael’s tenure at UT Austin has coincided with the struggle to retain the spaces and collections of the university’s Fine Arts Library. This trying period for art history and the arts at UT Austin has underscored the value of scholarly research libraries and their invaluable role in our state’s leadership in the field of art history. 

Hence, Michael will be a powerful advocate for the Wildenstein Plattner Library at UTD with the additions of the private libraries of Dr. Alessandra Comini, Mr. S. Roger Horchow, Mr. Ivan Phillips, Mr. Nash Flores, the late Mr. John Buchanan, the late John Wilcox, and Luba and Richard Barrett as well as the extensive library of the Crow Museum of Asian Art. 

Because of his work in the Naples area, Michael naturally will be an advocate for EODIAH’s imaginative center in Naples, The Center for the Art and Architectural History of Port Cities, founded by Associate Director, Dr. Sarah Kozlowski. 

Lest one think that I will disappear utterly, I will return to EODIAH in the fall of 2019, retaining the symbolic title of Founding Director, but occupying the Margaret McDermott Distinguished Chair and one of the O’Donnell Distinguished Chairs, both of which can be filled with distinguished scholars at my formal retirement.  

Dr. Richard R. Brettell

Founding Director

The Edith O’Donnell Institute of Art History

Greetings from the Associate Director (Acting Director 2018-2019)

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

After a restorative winter break spent reconnecting with family and returning to my own writing, I am ready to leap into the new semester. I’m particularly looking forward to participating in our spring line-up of scholarly programs at the Institute, continuing to mentor our wonderful group of Master’s students and preparing to welcome our second class this fall, developing our programming at The Wilcox Space, and tending to our fledgling Center for the Art and Architectural History of Port Cities in Naples.

Our first semester at the Center in Naples was busy and intense, full of successes both large and small—our study day on the ancient port of Naples with Rabun Taylor of UT Austin was a highlight, as well as our series of visiting scholars (Sabina de Cavi, Nora Lambert, Silvia Armando, Kristen Streahle, and Julie Beckers) who gave informal seminars on their work for our Research Residents and Capodimonte colleagues. 

No less exciting have been the many discoveries that our Residents have made on the ground in Naples and in the archives. Throughout the semester, our extraordinary Research Coordinator Francesca Santamaria has led our residents on visits to collections, libraries, archives, conservation studios, and other sites in Naples.

I’ll make my next trip to Naples in February, when we’ll welcome scholars Brigitte Marin and Ivan Foletti to lead seminars with our Residents. And at the end of May we will host a scholars’ seminar on research approaches to the movement of artworks, artists, and artists’ materials between the Italian and Iberian peninsulas in the premodern world. 

Organized in collaboration with my colleague and friend Sabina de Cavi, the program will include seminar-style presentations, roundtable conversations, and site visits to archives throughout the city. At the same time, we are already looking ahead to the next academic year; you will find a call for applications for 2019-2020 Research Residencies in Naples here.

There have been growing pains over these first months too—we are still working to secure a strong and reliable wireless signal, for example! But passo dopo passo we are hitting our stride, and I am constantly reenergized by the intellectual life that is springing up right in the heart of the Bosco di Capodimonte. Colleagues at institutions throughout the city, and most importantly at the Museo di Capodimonte, have opened their doors to us with warmth and enthusiasm. In ways large and small they have supported our Residents’ research and helped us establish the Center’s scholarly presence in Naples.

I am convinced that our work at the Center will make an important contribution to new research on Naples, south Italy, and the Mediterranean. And I am thrilled that the O’Donnell Institute’s scholarly presence on the Bay of Naples will become even more important beginning this summer, when we will welcome the archeologist Michael Thomas as the Institute’s new Director—one of Michael’s current research focuses is at the Roman site of Oplontis, just south of Naples. The future is bright for the O’Donnell Institute, both in Dallas and in Naples! 

Dr. Sarah K. Kozlowski

Associate Director (Acting Director 2018-2019)

The Edith O’Donnell Institute of Art History

Research Residents, Capodimonte colleagues, and Research Coordinator Francesca Santamaria visit the studio of the conservator Bruno Arciprete

Colleagues from the Center, the Capodimonte, and the Bibliotheca Hertziana visit the Museo Archeologico with UT Austin Professor Rabun Taylor during a study day on the Ancient Port of Naples

Research Residents Elizabeth Duntemann, Fabrizio Ballabio, Anatole Upart, and Peter Levins

Research Residents Justinne Lake-Jedzinak and Sara
Berkowitz in the conservation studio of the Capodimonte

Dr. Maximilian Schich, EODIAH Acting Assistant Director, Associate Professor in Arts and Technology


In Spring 2019, Maximilian Schich is teaching a course in Data-driven Art History “From Warburg to Deep Learning”. The purpose of the course is to connect cutting edge computational methods with relevant methods established in art history throughout the last century to enable actionable understanding for both qualitative and quantitative practitioners. Course participants include students in the Art History MA program, and students from natural sciences.

Research work continues in several multidisciplinary projects, including a collaborative computational analysis of Chromatic Structure and Family Resemblance in Large Art Collections, and a collaboration with physicists regarding the Evolution of the Paris Salon. A monographic book publication Outlining a Systematic Science of Art and Culture is upcoming.

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


On Tuesday, December 12, 2018, Maximilian Schich spoke at the Institute for Scientific Interchange in Torino, Italy on Art History as a Systematic Science.

On Wednesday, March 27, 2019, Maximilian Schich is invited, together with Béatrice Joyeux-Prunel (Paris) and Claus Pias (Lüneburg), to speak in a panel discussion at Kunsthistorikertag in Göttingen. The panel deals with the history of science of art history, and is organized by Hubertus Kohle (Munich) and Hubert Locher (Marburg).

Become a Friend of EODIAH

Dear Friends of EODIAH,

The fall has been a busy one for everyone at the O’Donnell Institute. Even though Dr. Brettell has been on a very well deserved sabbatical, our work has been ongoing and very successful. And, we continue to be energized about the Institute’s exciting future with the recent announcement of Michael Thomas as our new Director. We look forward to introducing him to you in the coming months. 

On the development front, EODIAH received an impressive grant from The Harry J. Bass, Jr. Foundation.  We are indebted to to Mrs. Doris Bass for her continued support and investments in the technological tools that we need to move our mission forward and to steward the assets of the University and EODIAH. The $50,000 grant will be used to purchase a collections management system (CMS) for the Edith O’Donnell Institute of Art History.  

A CMS will allow staff to capture and manage all of the data related to each collection, and catalogue and cross reference everything from object information to archival data.  Our system will also include a web publishing tool that will give us the ability to share our collections online with the university community and the public at large. 

We thank The Harry J. Bass, Jr. Foundation for this very generous gift to the O’Donnell Institute that supports our continued work as we build an exciting future in the arts at the University.

The O’Donnell Institute has and will receive multiple collections in the next five years that will become the foundation of an Athenaeum at UT Dallas.  Promised collections include the Barrett Collection and the Carolyn Brown Archive, among others.  

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

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

Lucy M. Buchanan

Director of Development

Edith O’Donnell Institute of Art History



Art and Medicine at EODIAH

Bonnie Pitman, Distinguished Scholar in Residence, UT Dallas

The Art and Medicine program headed by UT Dallas Distinguished Scholar in Residence Bonnie Pitman cultivates connections between art and science.

Art of Examination

Now in its fifth year, “The Art of Examination”, an 8-week preclinical elective open to first and second-year medical students at UT Southwestern Medical School that focuses on developing vital skills for clinical diagnosis through looking at works of art, has begun for the Spring 2019 semester.

Taught by UT Dallas Distinguished Scholar in Residence Bonnie Pitman, University of Texas Southwestern Medical School Assistant Professor of Dermatology Heather Woodworth Goff, M.D., M.P.H., and Dallas Museum of Art Manager of Community Programs Amy Copeland, “The Art of Examination” leads UTSW medical students through a series of observations, discussions, and exercises based on works of art in the galleries of the Dallas Museum of Art, Crow Museum of Art, Nasher Sculpture Center, The Warehouse, and the UTSW Clements University Hospital.

The course uses the power of art to foster early in students’ medical careers the habits of close visual inspection and cognitive reflection of those observations. Learning such visual literacy skills addresses ambiguity in the physical exam and patient interaction; and group discussion develops skills in synthesizing observations with knowledge and experiences, and considering the collaborative thinking process of the group.

This semester’s session topics include the Power of Observation, artists as patients, tolerance of ambiguity, conservation, mindfulness and burnout, the human form, and empathy and compassion, all geared towards preparation for medical practice. 

All are invited to follow the fun on Instagram @artdocs:  

For information on the UTSW curriculum and more Art of Examination resources such as a bibliography and list of program descriptions, visit

Center for Brain Health and Do Something New™

In her role as the Director of Art – Brain Innovations at the UT Dallas Center for BrainHealth, Bonnie Pitman begins the year by teaching a series of workshops at the Center for BrainHealth that pair her Do Something New™ practice with the latest neuroscience research. Aimed at fostering better brain health, the interactive workshops explore topics such as how to discover joy, craft resilience, and maintain focus in relation to Pitman’s long-standing practice of doing something new every day. 

In the News

Dallas Innovators: Bonnie Pitman Does Something New Every Day

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

The O’Donnell Institute has an exciting array of programs for the spring semester! 

On January 29 Dr. Ittai Weinryb, Associate Professor of Art History at Bard Graduate Center, will give a workshop talk That Moment of Complexity at the Research Center on votive offerings. 

In February EODIAH Lecturer Dr. Ali Alibhai will discuss his current research on Moroccan bell-lamps. 

On March 29-30 the O’Donnell Institute and the DMA will present a two-day event exploring the life and work of Impressionist painter Berthe Morisot.

Our graduate fellows will present their dissertation research throughout the semester, with topics ranging from globalization and new Bollywood cinema to American Athenaea. 

Our visiting ISAAC post-doctoral fellows will share their respective research on twentieth-century African American Art and the significance of “place-making” in Isamu Noguchi’s work.

This spring will also include workshops with two of the recently arrived curators at the DMA: Sarah Schleuning, Senior Curator of Decorative Arts and Design, and Katherine Brodbeck, The Nancy and Tim Hanley Associate Curator of Contemporary Art.

The Research Center promises to be a lively center of scholarly activity this spring. We look forward to the coming semester and welcome you to our many spring programs.

Visit our website to plan your calendar!

Lauren LaRocca

Coordinator of Special Programs

The Edith O’Donnell Institute of Art History

Ronald Lockett, Awakening, 1996, tin, metal grate, and nails on wood. Dallas Museum of Art, TWO x TWO for AIDS and Art Fund and gift of the Souls Grown Deep Foundation from the William S. Arnett Foundation. Photo by Stephen Pitkin/Pitkin Studio.

ISAAC Report Fall 2018

The Institute welcomed our our second group of ISAAC fellows from Nanjing University this fall. Senior Scholar Dr. Hansong Dan, Associate Professor, School of Foreign Studies; Junior Scholar Ting Zhang, PhD Student, The Art Institute; and Dr. Weiyi Wu, Assistant Researcher, The Art Institute. Dr. Dan was in residence for two months, and Ms. Zhang and Dr. Wu are currently in residence through August 2019. The scholars began their research travel in October 2018 with trips to New Mexico and Chicago.

ISAAC scholars and American art historian Penelope Hunter-Stiebel in collection storage at the Museum of Spanish Colonial Art.

ISAAC scholars and ISAAC Coordinator Lauren LaRocca in the Alcove House at Bandelier National Park, located 140 feet above the floor of Frijoles Canyon

The trip to New Mexico introduced the scholars to the art, culture, history, and landscape of the Southwest. The group was warmly welcomed to Santa Fe by staff at the New Mexico Museum of Art with tours of recently opened exhibitions, Shifting Light: Photographic Perspectives and Good Company: Five Artist Communities. Primary focus during the trip was given to collections of Native art with visits to the Museum of Indian Arts and Culture, the Wheelwright Museum of the American Indian, the Ralph T. Coe Center, and the Indian Arts Research Center. A half-day trip to Bandelier National Monument highlighted the unique New Mexican landscape and archeological sites of early native peoples. New Mexico continues to delight and challenge our scholars in their research areas of photography and Native art. 

In Chicago the scholars visited significant collections of American art at the Art Institute of Chicago and the Block Museum of Art at Northwestern University. The scholars also had the opportunity to visit two private collections. Works by the Chicago imagists featured prominently in one collection, while the other showcased a richly diverse selection of works on paper from the 16th to the late 20th century. They were also treated to a private showing of the documentary “Hairy Who & The Chicago Imagists” with Director Leslie Buchbinder. Focus was also given to Chicago’s architecture with a tour of downtown Chicago icons and Frank Lloyd Wright’s Oak Park home and studio.

ISAAC scholars and Dr. Brettell at the Art Institute of Chicago study room with Curator Jay Clarke

ISAAC scholars, Dr. Brettell, and Dr. Max Schich tour the grounds of the University of Chicago and Hyde Park

The scholars look forward to a busy spring with research trips and a workshop talk. Ting and Weiyi will present reports on their current research on Tuesday, April 30; you can check the Institute’s Programs page for more information.  We hope you can join us!

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

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

Dear EODIAH Friends,

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

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

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

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

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

With all my best,

Amy Lewis Hofland



A Note About the Collection

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

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


Jacqueline Chao, Ph.D.

Senior Curator of Asian Art

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


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

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




Athenaeum Review

In September, the first issue of Athenaeum Review appeared in print, featuring articles by Rick Brettell on the Wilcox Space and the Athenaeum, Paul Galvez on “First Sculpture” at the Nasher Sculpture Center, and Charissa Terranova on bioaesthetics. The second print issue will appear in April.

Complementing the print journal is a website created by UT Dallas’s own Cassini Nazir. The website includes several online-only features, such as a series of interviews with artists about their work, as well as a podcast series in which artists and scholars discuss their work. Recent guests on the podcast include artist Ludwig Schwarz, and EODIAH guests and fellows such as Linda Dalrymple Henderson, Gregory H. Williams, and Hansong Dan.

For more information about Athenaeum Review, please contact editor Ben Lima:


CAROLYN BROWN A Retrospective

Carolyn Brown, Interior Dome at Haram esh-Sharif, Old City of Jerusalem, 1990


1/18/19 – 2/16/19

Opening Reception Saturday, January 19, 2019, 4:00 p.m.

CAROLYN BROWN A Retrospective

Curated by Lauren LaRocca

Dallas-based artist Carolyn Brown is featured in a retrospective look at a lifetime of documentary photography in the Middle East, Latin America, and Texas.

At UT Dallas’s SP/N Gallery 3020 Stewart Dr., Richardson, TX, 75080

EODIAH Holds Conservation Science Colloquium Hosted by Dallas Museum of Art

Convened by UT Dallas’s Edith O’Donnell Institute of Art History at the Dallas Museum of Art on November 12, 2018, the Conservation Science Colloquium sought to bridge the humanities and sciences by creating dialogues between the curators, conservators, and scientists in the Dallas-Fort Worth area and Texas more broadly. With a clear investment in cross-disciplinary research, the colloquium posited conservators as the synthesis of art history and science, linking those intellectual communities and arguing for the rich possibilities of their collaborative efforts. 

Dr. Robert van Langh, head of Department of Conservation and Science at the Rijksmuseum in Amsterdam and chair of the Netherlands Institute of Conservation, Arts, and Science (NICAS) with Bonnie Pitman, UT Dallas Distiniguished Scholar in Residence

The keynote speech was presented by Dr. Robert van Langh, the head of the Department of Conservation and Science at the Rijksmuseum in Amsterdam and the chair of the Netherlands Institute of Conservation, Arts, and Science (NICAS). 

Dr. van Langh’s talk concerned a number of joint projects and research partnerships taking place in the Netherlands, emphasizing the importance of sharing resources. Foundational to his remarks was the value of a multidisciplinary approach to conservation, one which employs both an art historical concern for cultural heritage and the past lives of objects and a forward-looking investment in scientific innovation. 

This Janus-faced approach is crucial to the practice of conservation science. By observing change from the past and anticipating change in the future, conservation scientists act as caretakers of the objects that we hope to outlive us. In many ways, this entails envisioning the potential problems that conservation methods used today – many of which were developed in the 1960s – will have in the future, necessitating careful scientific research in order to mitigate any damage to the long-term stability of materials. The future of conservation science, therefore, is anticipating those changes: at its essence, conservation is at once eternally battling against the inevitable deterioration of objects and proactively staving off this material degradation. 

Notably, Dr. van Langh’s experience comes from a context in which government support drives and underwrites much of the research and provides the impetus for joint initiatives throughout the country. This level of state support is difficult to achieve here in the United States, making conservation science initiatives increasingly dependent on the kind of coordination and information-sharing between cultural institutions, labs, and universities that UT Dallas seeks to promote.

Dr. Norman Tennent speaks at the Conservation Science Colloquium that convened at the Dallas Museum of Art

Though Dr. van Langh discussed a number of specific research projects, his most resonant rallying call was for the open sharing of information and research. The Rijksmuseum and NICAS make their conservation research accessible online, and Dr. van Langh stressed that this generosity of intellectual capital was crucial to the overall success of the conservation community, benefitting the arts and sciences alike. 

Dr. van Langh’s keynote speech was followed by two presentations about ongoing projects within museum collections. The first initiative was jointly presented by Jodie Utter, Senior Conservator of Works on Paper at the Amon Carter Museum of American Art, and Dr. Amy V. Walker, the Interim Head and Professor of Materials Science and Engineering at UT Dallas. 

Dr. Amy V. Walker, the Interim Head and Professor of Materials Science and Engineering at UT Dallas presents on a collaborative conservation project with the Amon Carter Museum of American Art

Rick Brettell with Dr. Claire Barry, Director of Conservation, Kimbell Art Museum

Faced with the problem of removing adhesive residue from a series of early twentieth-century prints on colored paper by José Posada, Utter turned to Dr. Walker and her team in order to best determine the composition of the dyes and thereby prevent their dissolution or damage during treatment. 

Their approach utilized aspects of hard science and historical research, combining time-of-flight secondary ion mass spectrometry (TOF SIMS) in the labs at UT Dallas and consultation of historical catalogues by early dye manufacturers. The resulting data allowed Utter to successfully treat the prints and enabled the team to begin assembling a database of the chemical compositions of specific dyes in order to better facilitate future treatments. 

(L-R) Dr. Robert van Langh, Dr. Guus Verhaar, Bonnie Pitman, Dr. Norman Tennent, Dr. Sarah Kozlowski organize and present the Conservation Science Colloquium at the Dallas Museum of Art November 2018.

Postdoctoral researcher Guus Verhaar then presented his research on glass degradation – also known as glass sickness – in museum collections, a project facilitated by joint support from UT Dallas, the Corning Glass Museum, and the Rijksmuseum. Verhaar’s research, which included the identification of degraded and at-risk glass objects in several museum collections, allowed him not only to work on practical treatments to remove or address damage, but also to collect data concerning the conditions that cause or accelerate these material issues. Salt build-ups and oxidization are great threats to the stability of glass, and Verhaar’s data suggests that practical adjustments to storage, such as the regulation of humidity levels known to encourage the growth of certain damaging chemical compounds, could help prevent glass degradation and allow conservators to treat affected objects in the early stages. 

Dr. Amy Walker with UT Dallas science department students

These talks were then followed by a roundtable lunch, in which colleagues from the curatorial, conservation, and science fields were able to discuss the various projects and resources they were able to present to the larger community. During this session, Dr. Ignacio Pujana gave a presentation concerning the resources of the Micro Imaging Lab in the Department of Geosciences at UT Dallas. He encouraged the attendees to take advantage of the lab’s ability to produce clear, detailed images of natural materials at the microscopic level. The colloquium then ended on this note of possibility, with the hopes that this convocation of local conservators, curators, academics, and scientists is just the first step in an ongoing series of collaborations between the humanities and the sciences as Dallas-Fort Worth, and Texas at large, becomes a leader in the field of conservation science. 

Hilde Nelson

Curatorial Assistant, Contemporary Department

Dallas Museum of Art

Dr. Gregory Williams: No Quotations: Günther Förg in the Context of the Long 1980s

On November 6th, Dr. Gregory Williams gave a public evening lecture at the museum entitled “No Quotations: Günther Förg in the Context of the Long 1980s,” jointly sponsored by the Dallas Museum of Art and the Edith O’Donnell Institute of Art History. While in town, Dr. Williams also led several other programs, including docent training for the DMA, a seminar at UT Dallas, a visit to The Warehouse, and an interview for the Athenaeum Review podcast.

This lecture and associated events stimulated many fruitful and rewarding conversations about contemporary art history, ranging from the lively artistic scene in 1980s Cologne surrounding Förg (including, among others, the artists Martin Kippenberger, Rosemarie Trockel, Albert Oehlen and the gallerists Max Hetzler and Monika Sprüth), to the subtleties of Förg’s work, suspended as it is between the legacies of modernism and the challenges of postmodernism, at the same time exploiting the specific formal properties of each medium while also bringing together painting, photography, and architectural space in his trademark combined installations.

Gregory Williams is associate professor of contemporary art history,  and associate chair of the department of art history at Boston University. He has published widely on contemporary art in journals such as October, Artforum, Art Journal, Frieze, Parkett and Texte zur Kunst, and contributed catalog essays for exhibitions at the Tate Modern, Museum Ludwig, and Kunstmuseum Basel among many others. His book Permission to Laugh: Humor and Politics in Contemporary German Art, was published by the University of Chicago Press. His current research projects include a monograph on the East German artist Carlfriedrich Claus, a study of the 1960s-era attempt to combine training in fine arts and applied arts at the Werkkunstschule in West Germany, and an edited volume on the German artist and filmmaker Harun Farocki (1944-2014).

Gregory Williams, Leslie Reid, Jacquelyn Delin and Ben Lima

Gregory Williams, Stephen Lapthisophon, Christina Rees, Liz Trosper, John Pomara, Ben Lima and Francisco Moreno, at Liz Trosper’s exhibition at The Wilcox Space

Touring “Günther Förg: A Fragile Beauty” with DMA McDermott interns, EODIAH ISAAC fellows and MA students

Lecture: “No Quotations: Günther Förg in the Context of the Long 1980s.” (Not depicted: post-lecture dinner with Leigh Arnold (Nasher), Katherine Brodbeck (DMA), Hilde Nelson (DMA), Jessie Carrillo (DMA), Paul Galvez, Greg Williams and Ben Lima.)

Seminar at EODIAH: Ben Lima, Ting Zhang, Marjaneh Goudarzi, Weiyi Wu, Greg Williams and Gavin Delahunty

Tour of “Topologies” at The Warehouse. Gregory Williams, Marjaneh Goudarzi, Thomas Feulmer

Dr. Charissa N. Terranova Associate Professor of Aesthetic Studies

Charissa N. Terranova is publishing the essay, “François Morellet’s Social Feedback Loop: From Gestalt to the Cybernetic” in the catalogue for the extensive Op- and Kinetic Art exhibition Vertigo opening in May 2019 at the MUMOK (Museum of Modern Art) in Vienna.

Terranova is also coeditor with Meredith Tromble of the Bloomsbury Publishing book series Biotechne: Interthinking Art, Science, and Design. For those interested in submitting a related manuscript, please see description below and send inquiries to

 Biotechne: Interthinking Art, Science and Design

Bloomsbury Publishing Book Series

Charissa N. Terranova and Meredith Tromble, Editors

Biotechne: Interthinking Art, Science and Design publishes books about the history, theory and practice of art and design as they comingle with the natural sciences. The word “biotechne” brings together the Greek word bios, meaning life, the living, or citizen-life, and techne, meaning art, skill, or craft. This word names explorations into hybrid combinations of the living and nonliving, organic and artificial as they manifest between art-and-design studios, scientific laboratories, natural habitats, the museum and gallery worlds, performance spaces, medical practices, and the political realm. “Interthinking,” a neologism invented by art-and-science visionary György Kepes, describes knowledge informed by ecological, systemic, and cybernetic connections, all pivotal concepts for the Anthropocene. Interthinking identifies the active engagement between fields central to the Biotechne series. 

Biotechne welcomes art and design subjects from any time period, antiquity to the present, that speak directly to these contemporary concerns. By identifying significant intersections of art and science, and tracking rigorous paths through the transdisciplinary information jungle, Biotechne appeals to audiences of both experts and lay readers from the arts, humanities and sciences. It focuses on inventive, cross-pollinating works about the arts and humanities and their engagement with sciences such as astrobiology, astronomy, biophysics, chemistry, embryology, environmental ecology, evolutionary theory, genetics, information theory, marine biology, microbiology, physics, physiology, zoology and more. Biotechne opens new creative fields of design-based function and analysis that better complement our rapidly evolving world, taking the arts and humanities into new areas of problem solving and critical commentary, while substantiating the role of aesthetic insight within the natural sciences.  


György Kepes’s Vision + Values Series and the Origins of Cybernetic Art

This past October, Charissa N. Terranova led a dialogue between six internationally renowned scholars of modern and contemporary art history about artist and impresario György Kepes. Titled György Kepes’s Vision + Values Series and the Origins of Cybernetic Art, the public gathering took place at the Nasher Sculpture Center. 

Kepes was a renaissance man and shapeshifter of modernism. A pioneer of new media art and heir of the Bauhaus, Kepes pushed modernist experimentalism into new realms. He incorporated science and technology as a means to rethink the avant-garde through cybernetics, both organic and mechanical. Prior to an almost thirty-year career as professor at MIT 1947-1974, he lived in North Texas, making lifelong connections here and leaving a trail of fascinating art and design projects. 

The event was supported by the Terra Foundation for American Art, the Edith O’Donnell Institute for Art History, and the Nasher Sculpture Center.

György Kepes’s Vision + Values Series and the Origins of Cybernetic Art

Report on the 2018 Andrew Ladis Memorial Trecento Conference

In early November the Edith O’Donnell Institute for Art History helped to support a biannual conference of specialists in 14th-century Italian art. The Andrew Ladis Memorial Trecento Conference is not only very specialized, it is also a very special conference! Unlike most art history conferences, this one is small: 24 papers are presented over 2 1/2 days in a series of single sessions so that all participants listen and respond to each paper. 

The conference is also distinctive in its emphasis on new works in progress and extended dialogue on fourteenth-century art and culture. The selection committee accepts papers on all materials, regions, and approaches to trecento art history, although it also looks for new perspectives on trecento visual culture. With this in mind, it also accepts papers on trecento topics written by non-trecentists. 

Our goals also include reaching out to international colleagues and to researchers at varying stages in their careers. Part of the tradition of the conference is to provide meals and several breaks during which the intellectual conversations sparked by the papers can continue, and both new and established collegial friendships develop. According to the comments and emails of numerous participants this second conference was spectacularly successful and exceeded even the expectations that arose from the first one, hosted in 2016 at Tulane University. 

The character of these conferences was inspired by special, workshop-like gatherings once held by Andrew Ladis at the University of Georgia. Ladis was a major scholar of fourteenth-century art, and a mentor and inspiration to many younger art historians; the title of the conference honors his legacy. Shortly after Prof. Ladis’s premature demise in 2007, a small group of trecento art historians began an email list that has grown to number about 150 members in 10 countries. 

The group constitutes a private listserv that functions not only to advance scholarly discourse, but also to organize conferences in honor of Andrew’s spirit and goal of promoting a long and rigorous life for trecento art history.

The 2018 Andrew Ladis Memorial Trecento Conference, co-hosted by the University of Houston and the Museum of Fine Arts, Houston, was only the second one held by the group. About 60 people attended, including 12 graduate students, 5 of whom presented papers. We also received a small amount of designated funding to help bring our Italian colleagues, who often don’t have the means to attend conferences in the U.S. Support from EODIAH made possible a special dinner at the end of the first full day of the conference, which otherwise would not have been possible. The dinner helped create a special bonding among the presenters and other participants as well as bring the day to a festive conclusion. 

The participation of EODIAH also included the presentation of a fascinating paper by Associate Director, Sarah Kozlowski (selected independently by the planning committee). Dr. Kozlowski’s paper brought up new questions and proposed interesting conclusions about the significance of painted fictive porphyry (a type of colored marble) on the backs of small diptychs and triptychs commissioned by the Angevin rulers of 14th century Naples.

In addition to the paper by Sarah Kozlowski, presented in a session entitled “Art as Politics”, papers included another paper on the Neopolitan Angevin ruler, Robert of Anjou’s, political aims and the iconography of works he commissioned to support them. It was exciting to hear about a vibrant region of the trecento mediterranean that has only recently begun to receive the scholarly attention it deserves and in ways that often bring new approaches to the larger field of trecento art history. 

True to the group’s goals, a wide range of other types of subjects were also presented. Several of them are noted here: the meaning and function of the image type known as the “Triumph” of a Saint (here specifically  those of St. Augustine and Thomas Aquinas) based on diagramming those images; differences in the cut of Franciscan habits in life and in art and their significance; the social functions of painted saints’ tombs in the Veneto; sources and significance of simulated textiles in trecento painting; and the relationship between Persian and Italian trecento religious architecture. 

Topics also included a new iconographic and historical analysis of an altarpiece painted for the Dominicans of San Gimignano by the Sienese painter, Bartolommeo Bulgarini, based on new excavations in the archives; a reading of the unusual and previously inscrutable narrative strucutures of frescoes in San Francesco, Prato as based on the  structure of sermons; the reconstruction of images destroyed in WWII; images of a changing social order through the astrological program in Padua’s town hall; visual representation of women’s legal duties in trecento Siena, and many more. One of the most intriguing and novel papers analyzed concepts of time in trecento thought, the development of mechanical clocks, and their impact on the design of Giovanni Pisano’s much-studied Pisa Pulpit. We were also treated to a special talk by the Curator of Italian art in the National Gallery of the UK, in London, that highlighted the various ways past and present curators have engaged audiences with art of this period, that audiences often find difficult to relate to, and a presentation of an in-progress digitization project focused on Medieval and Renaissance Florence.

The proceedings of this conference will be published by Brepols Press, as were those of the 2016 conference. The essays will be short and similar to the presentations, so if you are interested you can look at them in more depth than I could possibly give here.

The next bi-annual conference will take place in Nashville, where it will be hosted by trecentist and curator of the Frist Art Center, Trinita Kennedy. It will be held to coincide with an exhibition she will be curating on trecento art in Bologna, a center that is often neglected in in this period.  Undoubtedly several papers will pick up the them of the trecento in Bologna and the proceedings will again be published and available to the public.

Judith Steinhoff

Associate rofessor of Art History

University of Houston

Organizer of the 2018 Ladis Memorial Trecento Conference

Dr. Mark Rosen Associate Dean of Undergraduate Studies, School of Arts and Humanities, Associate Professor of Visual and Performing Arts

In summer of 2018, Associate Professor Mark Rosen began a position as Associate Dean for Undergraduate Studies in the School of Arts and Humanities. In fall, he gave two invited lectures on his current research on bird’s-eye views, one at the Newberry Library in Chicago and the other at Bowling Green State University in Ohio. 

His latest essay, “As the World Turns: Revisiting Ambrogio Lorenzetti’s Lost Wheel Map in Siena,” was recently published in Art and Experience in Early Renaissance Italy, edited by Holly Flora and Sarah Wilkins (Turnhout: Brepols, 2018). 

In addition, he completed two essays for edited volumes that will appear in 2019: “Worlds Apart: The Four Continents and the Civitates orbis terrarum,” which will appear in Gendered Bodies and Maps: Personifications of the Continents, edited by Maryanne Horowitz and Louise Arizzoli; and “The pierre levée of Poitiers as Allegorical Site in the Civitates orbis terrarum,” to be featured in Allegorie et topographie. Èpoque Moderne (XVIe – XVIIIe siècles), edited by Antonella Fenech Kroke and Etienne Jollet. 

In recent months he has also published two feature articles in the Dallas Morning News, one about the legacy of modern Protestant icon-maker Warner Sallman, the other about the 1985 filming of David Byrne’s True Stories in North Texas. 

In spring 2019 Rosen is offering a graduate seminar on the Global Baroque that will include a trip to Mexico to visit some of the greatest New World buildings in that style.

O’Donnell Fellows and Visiting Researchers Updates

Juan Pantoja de la Cruz, Margaret of Austria, 1605. Oil on canvas, 204.6 x 121.2 cm. Royal Collection Trust, RCIN 404970



Rebecca Quinn-Teresi, EODIAH Graduate Fellow

In March, Rebecca Quinn Teresi will deliver a paper at the annual meeting of the Renaissance Society of America in Toronto. Her paper, “The Queen of Spain at English Court: Devotion and Diplomacy in Anglo-Spanish Relations, 1604–06,” will be part of the session “Re-assessing the Early Modern Court I: Networks and Mobility.” The paper is an abbreviated version of a chapter of her dissertation and incorporates the research she undertook in museums and archives around London last fall. 


Jacquelyn Delin McDonald, EODIAH Graduate Fellow

Jacquelyn Delin McDonald, whose thesis is “Modeling Fame, a Closer Look at the Work of Sculptor Elisabet Ney”, will be presenting two papers this semester.

At the Nineteenth Century Studies Association “Explorations” Conference in Kansas City, Missouri, she will be presenting “A Look at the German-American Sculptor Elisabet Ney: Was it a mistake to move to Texas?”

At the Interdisciplinary Nineteenth-Century Studies “Monuments and Memory” Conference at SMU (Southern Methodist University), she will present “Considering the Agency of ‘außergewöhnlich’‘Sculptress’ Elisabet Ney in the Albert Sidney Johnson Memorial”.


(L-R) Marjaneh Goudarzi, Fatima Esmail, Nausheen Hoosein, and our ISAAC Chinese Scholar Weiyi Wu at an EODIAH gathering


Jacopo Gnisci, Former EODIAH Graduate Fellow

EODIAH alum Jacopo Gnisci published “Illuminated Leaves from an Ethiopic Gospel Book in the Newark Museum and in the Walters Art Museum” in Hiob Ludolf Centre for Ethiopian Studies. His article focuses on two series of loose illuminated folios kept in the collections of the Newark Museum and of the Walters Art Museum. 

Field Reports

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

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


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


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


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

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


Apollinaria Nemkova

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

Dallas Museum of Art News and Exhibitions

Louisiana Bendolph (1960 -) ”Housetop” medallion, 2003, 77 x 73 inches, Courtesy Dallas Museum of Art

DMA Acquires Work from Souls Grown Deep Foundation

The Dallas Museum of Art in November acquired seven works from the Souls Grown Deep Foundation through its museum transfer program, which places works from the foundation’s foremost collection of artworks by African American artists from the South in esteemed institutions around the country. The DMA acquisition, a partial gift/partial purchase from the foundation, includes works by Thornton Dial, Ronald Lockett, Nellie Mae Rowe, and four quilts created by Louisiana Bendolph, Mary Lee Bendolph, Amelia Bennett, and Annie Mae Young, women of Gee’s Bend Alabama.


Beverly and Donald S. Freeman Donate $4 Million to Establish The Freeman Family Exhibition Endowment at the DMA

Dallas Museum of Art longtime patrons Beverly and Donald S. Freeman have awarded $4 million to the Museum to establish the Freeman Family Exhibition Endowment. This exceptional gift is designed to advance the presentation of special exhibitions across the DMA’s encyclopedic collection, providing robust opportunities for the Museum to engage audiences with the presentation of art across cultures and time in innovative ways. As part of the endowment, each year the Freeman Family will select one special exhibition from the Museum’s program for which it will offer significant support.


Berthe Morisot, Woman Impressionist

February 24 – May 26, 2019

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


Jonas Wood

March 24 – July 14, 2019

The Dallas Museum of Art will present the first major solo museum exhibition of work by American painter Jonas Wood, one of the most influential and exciting artists of our time. Bringing together approximately 35 works across 13 years of Wood’s career, the exhibition traces the artist’s fascination with psychology, memory, and the self to shed light on a practice that is both deeply personal and universal.


America Will Be! Surveying the Contemporary Landscape

April 6 – October 6, 2019

Drawing on works from the permanent collection of the Dallas Museum of Art, this exhibition presents the ways in which contemporary artists engage with landscapes, broadly defined, exploring how our natural and built environments intersect with our representations of ourselves and our communities.  “America will be!” is the rousing closing line of the 1935 poem, “Let America Be America Again,” in which Langston Hughes argues for a vision of America that is inclusive of the multiplicity of experiences at both the margins and the center. This exhibition explores how contemporary “landscapes” might better reflect the full diversity of the peoples who inhabit North and South America.


Dior: From Paris to the World

May 19, 2019 – September 1, 2019

Dior: From Paris to the World surveys more than 70 years of the House of Dior’s legacy, featuring a dynamic selection of over 100 haute couture dresses, as well as accessories, photographs, original sketches, runway videos, and other archival material. This exhibition profiles both Christian Dior himself and subsequent artistic directors, including Yves Saint Laurent (1958–1960), Marc Bohan (1961–1989), Gianfranco Ferré (1989–1996), John Galliano (1997–2011), Raf Simons (2012–2015), and Maria Grazia Chiuri (2016–present), all of whom have carried Dior’s vision into the 21st century.


On View at the DMA

Günther Förg: A Fragile Beauty Through January 27, 2019

Concentrations 61: Runo Lagomarsino, EntreMundos Through February 17, 2019

Women + Design: New Works Through February 17, 2019

From Düsseldorf to Dallas: Postwar German Art in the DMA Collection Through February 17, 2019

Ida O’Keeffe: Escaping Georgia’s Shadow Through February 24, 2019

An Enduring Legacy: The Eugene and Margaret McDermott Collection of Impressionist and Modern Art Through February 2019

Modernity and the City Through April 7, 2019

Asian Textiles: Art and Trade Along the Silk Road Through May 19, 2019

Women Artists in Europe from the Monarchy to Modernism Through June 9, 2019

The Keir Collection of Islamic Art Gallery Through April 26, 2020

Dallas Museum of Art Exhibits Rosa Bonheur Ewe Gift

Dr. Alessandra Comini is pleased to share that the Dallas Museum of Art now has on view a work by Rosa Bonheur (French, 1822 – 1899), Ewe in the Field, second half of the 19th century, oil on canvas, that Dr. Comini gifted to the museum  in honor of Charlotte Whaley.

Rosa Bonheur, Ewe in the field, oil on canvas, 2018.44, image courtesy Dr. Alessandra Comini

Comini attends the Meadows Museum “Comini Event” wearing her Austrian Medal of Honor

Crow Museum of Asian Art Exhibitions and Events




Hands and Earth:  Contemporary Japanese Ceramics (March 9, 2019-January 4, 2020)

The Crow Museum of Asian Art is proud to present the forthcoming exhibition Hands and Earth: Contemporary Japanese Ceramics. Featuring an in-depth selection of important works by Japanese ceramic artists of the last eighty years, the exhibition will showcase a range of shapes, glazes, and surface treatments. Most are by masters who are living and practicing today.

The ceramics reflect a duality of character, blending ingenuity with a dynamic relationship and deep respect for tradition. Current Japanese ceramic artists are widely considered among the most aesthetically and technically innovative in the world, yet their works often mirror the vibrant artistic tradition that began thousands of years ago. This exhibition offers a rare opportunity to see such significant examples of avant-garde approaches to clay by major artists.

Since 1950, the Japanese government has bestowed the title of “Living National Treasure” upon its practicing artists who have attained the highest level of mastery in their chosen fields of discipline. Of the thirty-five artists whose works will be shown in this exhibition, seven have been honored with this designation. Hands and Earth: Contemporary Japanese Ceramicswill mark the first time these world-renowned pieces are displayed together publicly in Texas.

The exhibition draws from the collection of Carol and Jeffrey Horvitz, who have amassed an important encyclopedic collection of major Japanese modern and contemporary ceramics. Their collection of more than 1,000 works is the largest, public or private, of contemporary Japanese ceramics outside of Japan.

Anyone with an appreciation for Japanese art or the blend of traditional and cutting-edge ceramic techniques will enjoy this unique opportunity to see these world-class masterpieces in the intimate setting of the newly remodeled Crow Museum of Asian Art.


Hands and Earth: Contemporary Japanese Ceramicsis presented by ORIX Americas Miyauchi Charitable Foundation.


Jacob Hashimoto: Clouds and Chaos (September 28, 2018 – April 14, 2019) features a large-scale site-specific installation and the U.S. premiere of his latest woodblock prints.


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


The Art of Lacquer (September 28, 2018 – June 23, 2019) introduces lacquerware objects from the Museum’s collection to showcase one of the most enduring and distinctive forms of craftsmanship in the world.


Immortal Landscapes: Jade from the Collection (September 28, 2018 – June 23, 2019) highlights outstanding Chinese carved jade representations of mountain landscapes and forms from nature.


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



Jacob Hashimoto, Nuvole
Silk, paper, bamboo, and cotton string.
Dimensions variable
Collection of the artist.




Sat February 9, 11am-4pm

Chinese New Year Festival

NorthPark Center

Hoof it on over to NorthPark Center for the Crow Museum’s 20thannual Chinese New Year Festival celebrating 2019, the Year of the Earth Pig.Pigs are considered a symbol of wealth with their cute chubby faces and big ears, both being signs of good fortune. 2019’s festivities plan to be an absolute pig out with a wealth of activities to help ring in the new year including dragon and lion dances, art making for all ages, and giveaways throughout the Center.



Thu April 4, 2019, 8pm

Reflections and Repercussions: Aki Onda


New York-based artist and composer Aki Onda will create a site-specific performance inspired by Jacob Hashimoto’s Nuvole installation and the museum’s permanent collection. Using light, sound, and other media, the complex relationship between the concrete and the ephemeral is explored. Featuring Queens-based vocal artist Samita Sinha.

This exclusive performance is co-commissioned by the Crow Museum of Asian Art and the Nancy A. Nasher and David J. Haemisegger Family SOLUNA International Music & Arts Festival.

Meadows Museum

Mariano Fortuny y Marsal (Spanish, 1838–1874), The Choice of
a Model, 1868–74. Oil on wood. National Gallery of Art,
Washington. Corcoran Collection (William A. Clark Collection), 2015.143.12.



Fortuny: Friends and Followers

February 3–June 2, 2019

Recently the National Gallery of Art in Washington, DC, generously agreed to the long-term loan of an important painting by Mariano Fortuny y Marsal (1838–1874): The Choice of a Model (1868–74). 

In honor of this prestigious loan, the Meadows Museum will host an exhibition dedicated to Fortuny and his world, drawing from its rich holdings of works on paper as well as key loans from private and public collections, including the Dallas Museum of Art and the Museum of Fine Arts, Houston, in order to showcase many of the friends, family, and followers who engaged with the popular Spanish painter’s work. Fortuny’s paintings were especially prized by nineteenth-century American collectors as well as by contemporaneous artists. 

The legacy of that popularity resonates with the distinctly American provenance of both the Meadows’s Beach at Portici and the National Gallery’s The Choice of a Model, and their current ownership by American museums.




The Spanish Look: Fortuny, Frenchmen, and the Sombrero Calañés

February 7, 2019  

Daniel Ralston, Meadows Curatorial Fellow

This lecture explores how Fortuny, his artistic circle, and his principal American collectors sought to define, construct, and propagate their own unique image of Spain.


Symposium: Finding a Way: Art Exchanges Between Russia and the United States

Wednesday, February 13, 5:00–7:00 p.m.

Th­is program will explore the politics of international cultural exchange since the 2011 moratorium on loans of art objects between Russian, government-owned museums and institutions in the United States. Th­e program will begin with a conversation between art museum directors Mikhail Piotrovski of the State Hermitage Museum, Saint Petersburg, and Glenn Lowry of the Museum of Modern Art, New York, followed by a discussion between diplomatic officials from Russia and the United States. Daniel T. Orlovsky, Professor and George Bouhe Research Fellow in Russian Studies, Dedman College of Humanities & Sciences, will moderate both conversations.


Eakins, Sargent, and Chase: Fortuny’s Divergent American Admirers

March 7, 2019

Brian Allen, independent art historian

This talk examines the Spanish master’s appeal to a range of young American painters working in differing styles, from Thomas Eakin’s realism, to John Singer Sargent’s painterly naturalism, and William Merritt Chase’s adaptation of brushwork akin to Impressionism.


Dressing the Model

April 11, 2019

Gloria Groom, chair of European painting and sculpture, Art Institute of Chicago 

This lecture will explore why and how the artists of Mariano Fortuny’s circle—Tissot, Gérôme, Alfred Stevens, and other so-called academic painters—used fashion in their portraits and genre scenes, as well as how these artists intersected with the Impressionists, including Renoir, Monet, Degas, and Manet. 




Art in Medieval and Renaissance Spain

Six Fridays: March 1, 8, 15, 22, 29 & April 5, 10:30–11:30 a.m.

While the Meadows Museum is perhaps best known for its excellent collection of Early Modern and Modern Spanish art, it is also home to significant holdings of medieval and Renaissance painting and sculpture. Recent years have seen the significant addition of fifteenth- and sixteenth-century panel paintings to the collection, which help to offer a more balanced history of Spanish art. In order to contextualize these important acquisitions, this lecture series will consider artmaking in the Middle Ages beginning with the oldest object in the Meadows collection, which dates to the tenth century. The six-part lecture series will conclude with a look forward to the stylistic shifts characteristic of Renaissance art and architecture in the sixteenth century.


Modern Art Museum of Fort Worth

FOCUS: Dirk Braeckman

Jan 26, 2019 – Mar 17, 2019

The photographs of Ghent-based Dirk Braeckman (b. 1958, Eeklo, Belgium) have a distinct stillness and quietude that counter the whirl of today’s visual landscape. Images of empty, unidentifiable interiors, architectural details, oceans, and partially obscured nude figures are just some examples of the artist’s subject matter. Since the mid-1980s, Braeckman has tested the limits of photography, especially its materials and processes. Challenging the reproducibility of a photographic image, particularly in light of today’s vast dissemination of images, Braeckman creates unique prints using analogue processes and physically taxing experimental methods in the darkroom.


Disappearing—California, c. 1970:  Bas Jan Ader, Chris Burden, Jack Goldstein

May 10, 2019 – Aug 11, 2019

The Modern Art Museum of Fort Worth presents the exhibition Disappearing-California, c. 1970: Bas Jan Ader, Chris Burden, Jack Goldstein. These three artists shared a common interest in themes of disappearance and self-effacement, which manifested in works that were daring and often dangerous. Responding to the social and political circumstances of their time and the nascent field of feminist art, the artists used “disappearing” as a response to the anxiety of the 1970s. This major exhibition, curated by Philipp Kaiser for the Modern, reveals a fascinating intersection between major figures at a critical turning point for Southern Californian art.

The Warehouse

Koji Enokura, Untitled No. 13


May 14, 2018 – April 13, 2019

Artists throughout the post–World War II period have been fascinated by the ways in which space can be activated. One key model has been the notion of topology (“logic of place”), which centers on the concept of geometric transformation, in which space and shape can be expanded, contracted, distorted, and twisted while the structure of the object remains constant throughout.

Taking this definition as a launching point, topology appeared in postwar art in the late 1960s. A turn away from the fixed structures of Euclidean geometry and empiricism, topological properties as applied in art include connection via a breakdown of boundaries, the use of open structures, and a cross-pollination of disciplines that questions systems of knowledge. Movement and change, rather than a static object itself, constitutes the artwork. Topologies demonstrates how this mathematical field and its implications came into use by visual artists who were expanding systems-based practices in a variety of media around the world.

Two conceptions of topology by artists whose works are on view at The Rachofsky House provide key axes to this exhibition. In Japan, the idea was interpreted through a physics of form foundational to the Mono-ha group’s breakthrough Land art piece Phase—Mother Earth (1968) by artist Nobuo Sekine, which operates on a continuous renewal of perception through a cycle of creation and recreation. In the United States, artist Dan Graham introduced topology in his seminal essay “Subject Matter” (1969), describing perceptual effects in process-based practices in which “the spectator’s visual field . . . shifts in a topology of expansion, contraction, or skew.” Together, these ideas from different parts of the world establish the radical significance of the idea that form may remain continuous despite changes that occur over time.

Gathering more than 100 works created between 1952 and 2016 by 61 artists, Topologies offers both snapshots of particular moments in time and historical lineages that unfold over years. It draws from The Rachofsky Collection’s strong formal and conceptual holdings on international practices that emphasize process and materiality. The show expands on themes including permutation and distortion in space, inversions and other shifts in the body’s phenomenological relationship to space, material transition based on gravity and entropy, the politics of displacement, and reconceiving abject encounters between the synthetic and organic.

Topologies draws works from The Rachofsky Collection, the Dallas Museum of Art, Deedie Rose, and Jennifer and John Eagle.

Mika Yoshitake

Exhibition Curator

The Reading Room

Francis Almendárez

The Potential Wanderer

January 19, 2019 – March 2, 2019

The Reading Room presents The Potential Wanderer, an exhibition by Houston-based Francis Almendárez from January 19 through March 2. Blending video, installation, sound, and performance, Almendárez investigates the liminal space one occupies as a second-generation immigrant, examining how identity develops and functions within the overlapping of cultures. The exhibition is curated by Caroline Elbaor. Please join us for the opening reception on Saturday, January 19 from 6 to 9 pm. There will be a performance by Almendárez at 6 pm. Almendárez is a 2018 Houston Artadia Awardee. He has exhibited in the United States and abroad in the United Kingdom, France, Russia, Germany and Portugal.

For further information: Karen Weiner 214 952 4109

The Reading Room, 3715 Parry Avenue, Dallas

Nasher Sculpture Center

Isa Genzken

2019 Nasher Prize Laureate is Isa Genzken

With a career spanning four decades, Isa Genzken has continually reinvented the language of sculpture by creating objects inspired by popular culture and historical events that explore the complexities of contemporary realism. Engaging a diverse range of media such as wood, plaster, concrete, textiles, and detritus and working in a variety of modes, including sculpture, photography, filmmaking, painting, drawing, and collage, Genzken transforms vernacular materials into wholly unique forms. Her inventive, ad hoc approach to making, as well as her fearless embrace of chaos and change, has inspired a generation of artists, even as she continues to adapt, expand, and redefine her protean oeuvre.  


Sterling Ruby: Sculpture

February 2, 2019 – April 21, 2019

Sterling Ruby’s multifaceted practice encompasses sculpture, ceramics, installation, textiles, clothing, painting, collage, photography, and video.  Featuring nearly 30 large- and moderately-scaled sculptures spanning his career, Sterling Ruby: Sculpture will be the first museum exhibition to survey the great variety of sculptural work of one the most significant contemporary artists working today.


FREE First Saturdays February 2, 11 a.m. – 1 p.m.

The Great Create 2019 Sponsor Party February 5, 6:30 – 8:30 p.m.

‘til Midnight at the Nasher February 15, 6 p.m.–12 a.m.

Workshop: Material Mayhem February 21, 6:30 – 8:30 p.m.

Soundings: New Music at the Nasher March 1, 7:30 p.m.

Waging war seems as inevitable a part human nature as our mortality. The grotesque rituals of war are represented with horrifying honesty in Francisco Goya’s book of etchings Los Desastres de la Guerra (The Disasters of War) and form the foundation of Martin Bresnick’s Caprichos Enfáticos (Emphatic Caprices).

Purchase tickets online at

The Great Create Family Kick-Off Party March 2, 10 – 11:30 a.m.

FREE First Saturdays March 2, 11 a.m. – 1 p.m.

‘til Midnight at the Nasher March 15, 6 p.m. – 12 a.m.

360: Speaker Series: Judy Chicago March 23, 11 a.m.

Nasher Prize Student Festival March 24, 1 – 4 p.m.

Nasher Prize Graduate Symposium April 4, 10 a.m. – 4 p.m.

Nasher Prize Dialogues April 5

FREE First Saturdays April 6, 11 a.m. – 1 p.m.

360: Speaker Series: Leveling the Playing Field: What Pro Sports Can Offer the Gallery System April 13, 2 p.m.

‘til Midnight at the Nasher April 19, 6 p.m. – 12 a.m.

SOLUNA: Musical Celebration of Isa Genzken April 23, 7:30 p.m.

The Great Create: By Artists. For Kids. April 28, 1 – 4 p.m.

FREE First Saturdays May 4, 11 a.m. – 1 p.m.

Learn more about these and upcoming events at

SP/N Gallery at UT Dallas

Representation and Presentation in Photography: Selections from the Comer Collection

Jan 19 – Feb 16, 2019

In representing reality, photography reproduces, at a visual level, the cultural and ideological aspects of its society. At the same time, photography can be used to de-codify and question society’s principles by presenting reality itself in a way that promotes critical thinking about its criteria and norms. By discussing photography according to the concepts of representation and presentation the curator describes its development from the beginning of the 20th century to now.  Curated by Francesca Brunetti, Ph.D. student, UT Dallas.

The University of Texas at Dallas

SP/N Gallery

3020 Stewart Dr.

Richardson, TX 75080

Gallery Hours

Tues, Wed, Sat 11:00 am – 4:00 pm

Thurs & Friday 1:00 pm – 6:00 pm

 an interior Dutch scene by Barent Fabritius, Young Girl Plucking a Duck, but the painting has remained off view since 2004 due to its poor condition. The 17th-century painting recently underwent treatment in the DMA Paintings Conservation Studio this past year and is now on view in the Museum’s second-level European gallery. Chief Conservator Mark Leonard cleaned the surface of the painting, removing discolored varnish and extensive overpaints and subsequently filling and retouching old losses. During conservation, it was discovered that the original canvas had been removed at some point during the painting’s history and was transferred to a new canvas support. The painting returns to public view in time to complement the upcoming exhibition Vermeer Suite: Music in 17th-Century Dutch Painting (on view January 17 through August 21, 2016), featuring eight 17th-century Dutch works, including a work by the Dutch master Johannes Vermeer, from the prestigious Leiden Collection. 

St. Matthew’s Cathedral Arts presents Émile Naoumoff

Émile Naoumoff Photo courtesy of Émile Naoumoff


February 8, 7:30 pm

Master Class

February 9, 10:00 am

St. Matthew’s Cathedral Arts will present their 2018-19 Distinguished Artist Recital with a performance by virtuoso pianist, Émile Naoumoff. Naoumoff’s recital will include works of J.S. Bach, Fauré, Ravel, Lili and Nadia Boulanger, and the performer himself. A reception for the artist will follow the recital in the Justus Sundermann Gallery.


Episcopal Cathedral of St. Matthew’s

5100 Ross Ave. 

Dallas, TX 75206

UTA Visual Resources Gallery: ‘Hushangabad: A Portrait of a North Indian Village; Photography by Andrew Ward

“Hushangabad: A Portrait of a North Indian Village, Nov. 1968 – Jan. 1970; Photography by Andrew Ward”

The exhibition includes never before seen photographs selected from the portfolio of artist and historian, Andrew Ward.

More information click here.

The gallery is located in the Visual Resource Commons & Gallery, FA2109, 2nd floor, Fine Arts Building. The Gallery is open M – F: 9am – 5pm.

For more information on these or other artworks from the UT Arlington Fine Arts Collection, please contact Cheryl Mitchell, Collections Specialist, at

Call for applications

Apply for an Edith O’Donnell Graduate Fellowship

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


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

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