Carolyn Brown donates photographic archives to the Edith O’Donnell Institute of Art History, University of Texas at Dallas

Carolyn Brown at the EODIAH Research Center at the Dallas Museum of Art

At the very beginning of the Edith O’Donnell Institute of Art History nearly four years ago, Dallas’ most important documentary photographer, Carolyn Brown, indicated that she would like to make the Institute a major bequest: the photographs, negatives, and digital rights for her fifty-year career as a documentary photographer in the Middle East, Latin America, and Texas. For two years, she has worked with our own Lauren LaRocca to select from her body of work a comprehensive group for digitization on a state-of-the-art Hasselblad digital scanner acquired for her use by the Institute.

This process has yielded work for three exhibitions at the Institute’s DMA space and others throughout the state. Carolyn has also identified works of art and decorative art from the Middle East and Mexico in her personal collection, which she will bequeath to the Institute for the use of our students and for the enlivening of our seminar rooms and offices.

My own collaboration with Carolyn began almost two decades ago, and her bequest will give us the basis for an important collection of digitized images and prints that poetically record major ancient Roman, Islamic, pre-Hispanic, and viceregal sites in the Middle East and Mexico, as well as important series of photographs of Fair Park, Texas A&M, South Creek Ranch, the abandoned slaughter houses of northern Fort Worth, Lake Caddo, and other major architectural and natural sites.

We celebrate her in this issue and thank her for her profound generosity. Below, she describes her career and the gift in her own words.

Richard R. Brettell, Ph.D.

Founding Director

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

Carolyn Brown and beloved dog Leroy

In 2016 I made the decision to will my extensive archive of still photography to the Edith O’Donnell Institute of Art History. The archive comprises roughly 75,000 photographs (transparencies, digital scans, digital photographs, and prints) of architectural sites in the Middle East, Mexico and Central America, Dallas (including Fair Park), and the campus of Texas A&M University, College Station. In collaboration with the O’Donnell Institute, we are currently organizing and digitizing the archive, and over time will make the archive accessible through an online research portal. While old photographers finally pass on, their photographs can live on for hundreds of years.


My journey with photography began in 1969 when I lived in Cairo, Egypt for three years to study Islamic Art and Architecture at Cairo American University. We made weekly group field trips to ancient Fatimid and Mameluke mosques. I bought a Nikon 35mm camera to document each site, and discovered the thrill of photographing ancient buildings—a beginning of what would became not only a livelihood, but an obsession.


Many of these early photographs were hand-held slide images of Egyptians at the pyramids, colorful markets, religious feasts, and along busy streets among the remnants of ancient Cairo. After returning to the United States, I honed my skills, invested in high-end equipment and worked commercially as an architectural photographer–often returning to my beloved Middle East with my medium format Hasselblad to build a large image collection of some of the world’s most historic ancient sites. Over a period of fifteen years I travelled and photographed throughout Egypt, Syria, Lebanon, Jordan, Palestine, Israel, Iraq, Yemen and Turkey.


As the Middle East archive grew, in 1991 I began to photograph pre-Hispanic archaeological sites, viceregal churches, and natural landscapes in Mexico. Within ten years I had documented locations in more than twenty Mexican states, and throughout Guatemala. I began photographing church exteriors in bright sun for full color and sharpness. Then I discovered the interior. This space lives with a vitality of its own, breathing and moving in a tangle of decorated ceilings, altars, and walls of golden richness and delicately crafted forms. The explosive display of texture, color, and meaning within the church interior is but a portion of that ten year journey. The Snow-capped volcanoes of Popocateptl and Iztaccíhuatl perch outside the churches in Puebla and Tlaxcala, and the clear blue waters of the Gulf of Mexico caress wide beaches of Veracruz and the Yucatan Peninsula, all bear witness to God’s majesty. At the end of winding dirt roads, across rich farmland and sometimes fog covered mountains, nestle pristine villages, each with a unique church in the village center or overlooking the world from a hilltop.


Carolyn Brown’s photographs installed at the Great Hall Entrance at Fair Park


With direction and inspiration from my dear friend Dr. Richard Brettell, in 2000 the Institute for the Study of Earth and Man at Southern Methodist University sponsored the historic exhibition of my photography, Sacred Space: Man and the Divine in Mexico, Guatemala and Southwest United States. Rick curated a selection of 300 photographs, many enlarged to thirty feet in length, filling the Hall of State at Fair Park during the State Fair. Thousands of fair-goers, school, and organization tours visited this exhibit during its six week run.


Rick and I worked together again in 2005 on Crafting Traditions: The Architecture of Mark Lemmon for the Meadows Museum. I photographed Lemmon’s contemporary Dallas buildings for the exhibit and catalogue, and Rick curated the large format exhibit, designed by David Gibson.


Carolyn Brown, Triumphal Arch at Roman city of Palmyra, Syria, 1989, photograph

Today I continue to exhibit and produce photographs for books, most recently Dallas: Portrait of a City (2014), Visions of a Southern Cypress Lake co-authored with Thad Sitton TAMU Press (2015), and Architecture that Speaks: The Legacy of SCP Vosper, Texas A&M University 1928-1932 with David Woodcock FAIA and Nancy McCoy FAIA by TAMU Press (2017). Since 2015, I’ve produced rotating exhibitions of my work at the Edith O’Donnell DMA Research Center, curated by Lauren LaRocca, including The Middle East,The Tiled Churches of Puebla, and Pattern in Islamic Art. I also regularly exhibit at Craighead Green Gallery in Dallas.


Carolyn Brown, Workmen: San Francisco Acatepec, Puebla, Mexico, 1995

The beauty of photography is that by looking at a photograph, one can immediately experience long-ago moments. The places and people I photograph will always be remembered exactly as they were that day the image was made. These experiences are an important part of incredible memories and will forever be in my heart—they are an important part of who I am today.

Carolyn Brown

“John Wilcox: Diptychs and Polyptychs” Published

John Wilcox: Diptychs and Polyptychs. The Wilcox Series, Volume 4, 2018

We are pleased to announce the publication of the fourth in a series of six volumes on the painting of John Wilcox: John Wilcox: Diptychs and Polyptychs. The Wilcox Series, Volume 4, 2018. With introductions by Rick Brettell and David Wilcox and essays by Sarah Kozlowski and Benjamin Lima. (Boston: The Ioannes Project and Dallas: The Edith O’Donnell Institute of Art History, 2018).


For more information on the Wilcox Space visit our Research portal here.


A Tale of Two Cities and Two Symposia

The Edith O’Donnell Institute of Art History is casting its net widely so as to benefit from the best possible partners. The past month has seen two superb scholarly symposia, one held in Dallas and the other in New York, in which EODIAH has played crucial intellectual and sponsorship roles.

Islamic Sympsosium

Close to home, we worked with our distinguished Visiting Associate Professor, Dr. Melia Belli, to create a partnership with the Islamic Art Revival Series and the Aga Khan Council for the Central United States and our permanent partner, the Dallas Museum of Art. The result was entitled INTERSECTIONS: THE VISUAL CULTURE OF ISLAMIC COSMOPOLTIANISM. Held over two days on May 4 and 5, the symposium brought scholars from the US, Canada, and Europe to Dallas, forming intellectual and social bonds over lectures, discussions, meals, and bus rides in the Margaret McDermott Suite at UTD’s McDermott Library as well as the Dallas Museum of Art (details included below).

Tour of the Keir Collection at the Islamic Art Symposium

Musical Performance, Bahman Panahi, Musicalligraphy: the relationship
between calligraphy and music

The idea of the symposium results from the latest methodological shifts in inter-cultural studies by stressing the interactions among artists, patrons, and institutions from the Medieval world to the present. The aim of the symposium was to demonstrate the many ways in which “Islamic” art maintained active relationships with other cultural and religious traditions throughout the millennium and a half of Islamic cultural traditions. With powerful short papers, discussion sections, and longer keynote address by world-renowned scholars, the symposium was a resounding proof of EODIAH’s local partnerships and international ambitions.

The second symposium was held in New York at the Frick Collection under the partnership of EODIAH and the Frick’s distinguished Center for the History of Collecting. The topic was the early collecting of Impressionist paintings, and the keynote speaker was our own Rick Brettell, who, with the close collaboration of the Frick’s wonderful Inge Reist and her staff, presided over a group of scholars from England, France, Germany, and the United States to discuss the early collectors of Impressionism in the United States, Europe, and Japan.

Held in the Frick’s beautiful oval auditorium, the scholars spoke to a full house, and we were lucky enough that UTD’s Provost, Dr. Inga Musselman, was able to attend the second of two days, May 11 and 12. We were even luckier that our friends at Christie’s made possible a very collegial dinner at the Restaurant d’Orsay and that Northern Trust, with offices in Dallas, Chicago, and New York helped us with the costs.

Both symposia were so bristling with intellectual energy and new research that it is likely that one if not both of them will result in books.

(L-R) Lionel Pissarro and Joachim Pissarro (great grandsons of Camille Pissarro), George Schnerck, Rick Brettell

Laura D. Corey, Metropolitan Museum of Art and Paul-Louis Durand-Ruel

(L-R) Inge Reist, Director of The Frick Collection’s Center for the History of Collecting at the Frick Art Reference Library; Chris Riopelle, Curator of French Paintings at the National Gallery London; and George Shackelford, Deputy Director of the Kimbell Art Museum

L: Lionel Pissarro and Andrea Nasher at dinner at the Frick Collection. R: Joachim Pissarro and Anne Distel, Musée d’Orsay.




More about Intersections: Visual Cultures of Islamic Cosmopolitanism

A collaboration between the Edith O’Donnell Institute of Art History, Islamic Art Revival Series and Aga Khan Council for the Central United States in partnership with the Dallas Museum of Art, a monumental Islamic Art Symposium Intersections: Visual Cultures of Islamic Cosmopolitanism was held Friday, May 4 – Saturday, May 5, 2018.

Intersections: the Visual Cultures of Islamic Cosmopolitanism was an innovative Islamic Art Symposium in Texas; the first major academic symposium to investigate art of various media (architecture, painting, textiles, calligraphy, photography and music) born of contact between Islamic and non-Islamic societies. Papers and presentations addressed artworks from a wide temporal (eighth century to present) as well as geographic (North Africa, Europe, Middle East, Central and South Asia) scope.

Calligraphy presentation at the Islamic Art Symposium

The first session was held at the UT Dallas Edith O’Donnell Arts and Technology Building. Opening remarks were given by Dr. Richard Brettell, Symposium Co-Chairs Dr. Melia Belli and Samina Hooda, and Dr. Amyn Sajoo. Panels included Islam, Art and the Medieval World and Early Modern Conversations with panelists Marcus Milwright, Cathleen Fleck, Alia Sandouby, William Toronzo and Alicia Walker, Jennifer Pruitt, Manuela Ceballos, Heghnar Waterpaugh, Mika Natif, Saleema Waraich, and Chanchal Dhadlani, and Vivek Gupta. The Keynote Address was given by Dr. Jonathan Bloom on “Fatimid Objects in European Churches”.  The day concluded with a musical performance by Bahman Panahi on “Musicalligraphy: the relationship between calligraphy and music” on the tar/sitar.

Sessions at the DMA featured keynote speaker artist Shahzia Sikander discussing her multicultural past and our future. Sikander has received many prestigious awards, including the Asian Society Award for Significant Contributions to Contemporary Art and the Inaugural Medal of Art from the US Department of State (AIE), Washington, DC. A scholarly panel on Modern and Contemporary Islamic Art and a presentation by Jason Moriyama, a Senior Partner with Moriyama and Teshima Architects in Canada were followed by a special tour of the DMA’s Keir Collection of Islamic Art. Other presenters included Jenifer Pruitt, Michelle Craig, Nada Shabout, and Vivek Gupta.

The Islamic Art Revival Series, the Dallas Museum of Art, and the Crow Collection of Asian Art presented events at the DMA on the Thursday prior to the Symposium including a lecture and calligraphy workshop with Bahman Panahi, Islamic Art Presentations, and a Code of Ethics Workshop with Dr. Azra Aksamija.

Download the full Symposium program here.

UT Dallas doctoral student Tricia Stout Presents at Nasher Prize Dialogues Symposium

UT Dallas doctoral student Tricia Stout was invited to present at the prestigious Graduate Symposium for the Nasher Prize, which was awarded to Theaster Gates. Tricia is a PhD student in Arts & Humanities at UT Dallas, where she is specializing in Literature and Aesthetic Studies. Her current research focuses on issues within Cultural Studies, Aesthetics and Politics, and Film Studies, with specific attention to Latin America.

The Nasher Prize Dialogues Symposium was held on April 5 and consisted of five 30-minute paper presentations from art history graduate students across the nation who were selected to participate in this year’s symposium that focused on the work of Chicago-based artist Theaster Gates. Tricia presented her paper “Art as an Ongoing Relationship: Theaster Gates’ Architectural Projects” in the afternoon panel, which was followed by a question and answer session moderated by Sofia Bastidas and open to the audience. The symposium concluded with a keynote presentation by Matthew Jesse Jackson, and panelists had the opportunity to meet the 2018 Nasher Prize Laureate, Theaster Gates. Below is a copy of Tricia’s paper abstract.

Art as an Ongoing Relationship: Theaster Gates’ Architectural Projects 

Within the past three decades both social practice art and community art have flourished. One characteristic of community-based art is that it focuses on the importance of building relationships. These relationships can be characterized in three distinct categories: (1) the relationship between the artist and the community; (2) the relationship between individuals as they experience or participate in the art collaboratively; and (3) the relationship between the viewer and the work of art. As a potter, turned social practice artist, Theaster Gates emphasizes the ability of the artist to shape nothing material into something. In his ongoing architectural projects, Dorchester Projects (established in 2008) and Stony Island Arts Bank (established in 2015), Gates refers to this shaping of material as establishing “heat” within a neighborhood; this “heat” ultimately creates dialogue. This paper will explore the connection between the importance of beauty, dialogue, and the three categories of relationships that emerge within Gates’ architectural projects. In addition, it will touch on the recent trend amongst community artists to incorporate an element of education into the art experience, which prolongs the existence of the work of art, as its relationships take on a life of their own.

Read more from D Magazine

Claire Soares Presents at UTD Annual Scholars Conference and in Krakow

UT Dallas Annual Scholars Conference

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

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

European Association for Jewish Studies Conference 

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

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


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.









Edith O’Donnell

Mrs. Eugene McDermott
The Hamon Charitable Foundation
The Harry W. Bass, Jr. Foundation
The State of Texas
Mrs. W. Ray Wallace

Mr. and Mrs. John Ridings Lee
George Schnerk

Elliot and Karen Cattarulla (in honor of Margaret McDermott)
Legett Foundation
Margot B. Perot
Salle Stemmons

PATRON – $5,000
Mr. and Mrs. Gene Bishop
Communities Foundation of Texas
Mr. Harlan Crow
Carolyn and Bob Dickson
George A. and Nancy P. Shutt Foundation

SUPPORTER – $2,500
Elizabeth Boeckman
Nancy M. Dedman
Mr. and Mrs. Peter J. Denker
Ms. Claire Dewar
Mr. and Mrs. Joseph M. Grant
Ms. Ruth Mutch
Vin and Caren Prothro Foundation
Mr. and Mrs. Paul T. Stoffel

Lucy M. Buchanan
Mr. and Mrs. Elliott Catarulla
Dr. Eugene and Dr. Rhoda Frenkel
Bonnie Pitman

PARTNER – $500
Mr. and Mrs. Thomas C. Campbell
Mary McDermott Cook
Mr. and Mrs. George Lee, Jr.
Ms. Patricia Patterson
The Dallas Foundation – Mr. and Mrs. William T. Solomon, Sr.

Carolyn Brown
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 or go to our website

SMU Distinguished Professor of Art History Emerita Alessandra Comini Updates

Alessandra Commini Honored for Research on Egon Schiele in Austria

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

The exhibit details:

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

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

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


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


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


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


Comini lectures on Egon Schiele in Neulengbach, Austria

Lecture in Neulengbach

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




Visiting Peter Altenberg in Adolf Loos’s American bar

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


Adolf Loos’s American bar



Field Updates: UNT’s Dr. Nada Shabout

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

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

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

More About Dr. Nada Shabout:

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

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


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

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

Dallas Museum of Art Exhibitions

Günther Förg, Untitled, 2005, acrylic on canvas, Collection of Dr. Ramiro del Amo, © 2018 Estate Günther Förg, Suisse / VG Bild-Kunst, Bonn 2018; Günther Förg, Stairwell, Munich, 1984/1998, color photograph, Deutsche Bank Collection, © 2018 Estate Günther Förg, Suisse / VG Bild-Kunst, Bonn 2018; Günther Förg, Untitled, 2009, acrylic on canvas, private collection, courtesy of Galerie Max Hetzler, Berlin | Paris, © 2018 Estate Günther Förg, Suisse / VG Bild-Kunst, Bonn 2018

First U.S. Museum Exhibition of Work by Günther Förg in Nearly Three Decades Will Debut at the Dallas Museum of Art in October 2018

The Dallas Museum of Art (DMA) announced its presentation of the most comprehensive survey to date for renowned German artist Günther Förg (1952-2013), opening on October 21, 2018 and on view through January 27, 2019. The first American museum exhibition dedicated to the artist in nearly three decades, Günther Förg: A Fragile Beauty, brings together over 40 years of  the artist’s multimedia practice – including work on paper, photography, sculpture, and rarely-exhibited late-career paintings –  to provide new insight on the practice and enduring influence of this extraordinary and complex artist.

Organized in collaboration with the Stedelijk Museum, Amsterdam and their curator of photography Hripsimé Visser, in close dialogue with the artist’s estate, Günther Förg: A Fragile Beauty builds on both institutions’ histories with the artist, with each having staged seminal exhibitions of his work in 1992 and 1995 respectively. The exhibition includes major loans from private collections and notable German institutions such as the Städel Museum, Frankfurt and the Staatliche Graphische Sammlung, Munich.

Read more from the DMA


On View at the DMA


Paris at the Turn of the Century

Through May 27, 2018

DMA Organized; Exclusively at the DMA


Laura Owens

March 25 to July 29, 2018

Hoffman Galleries


The Power of Gold: Asante Royal Regalia from Ghana

April 15 to August 12, 2018

DMA Organized; Exclusively at the DMA


Günther Förg: A Fragile Beauty

Opens October 21, 2018


Hopi Visions: Journey of the Human Spirit

Through December 2, 2018

DMA Organized; Exclusively at the DMA


Asian Textiles: Art and Trade Along the Silk Road

Through December 9, 2018

DMA Organized; Exclusively at the DMA


The Keir Collection of Islamic Art Gallery

Through April 26, 2020

DMA Organized; Exclusively at the DMA


DMA Arts & Letters Live                               

Caroline Weber  

May 30, 7:30 pm

Acclaimed author, French literature professor, and fashion historian, Dr. Caroline Weber returns to French high society with Proust’s Duchess: How Three Celebrated Women Captured the Imagination of Fin de Siècle Paris. 


Clemantine Wamariya

June 20, 7:30 pm

Human rights advocate Clemantine Wamariya captures the personal aftershocks of war, displacement, and survival in her powerful memoir The Girl Who Smiled Beads: A Story of War and What Comes After.

Amon Carter Museum of American Art Exhibitions, Lectures, Events

Jan Staller (b. 1952)
Still from SAVED, 2013
Single-channel video
Courtesy of the artist

Jan Staller: CYCLE & SAVED

Through August 19

These two short videos by New York photographer-videographer Jan Staller reflect on a potent contradiction of contemporary material life. Where CYCLE revels in the powerful abstracting of paper traveling at high speed down a conveyor belt on its first step to being recycled, SAVED is a playful celebration of hundreds of small tools and toys accumulated over the years by the artist. 

Together these videos ask us to reflect on what we choose to keep and what we throw away.

In Her Image: Photographs by Rania Matar

Through June 17

Ellen Carey: Dings, Pulls, and Shadows 

Through July 22

Commanding Space: Women Sculptors of Texas

Through November 18

Lectures and Talks

A Conversation with Texas Women Sculptors

May 31, 2018, 6:30 pm


Lecture: Who is Dave Heath?

June 16, 2018, 2:00 p.m.


Films + Performances


Sunset Cinema: Steel Magnolias

May 24, 2018, 6:00 pm 


Sunset Cinema: Homeward Bound

July 12, 2018, 6:00 pm


Interactive Programs


Art+Feminism Wikipedia Edit-a-Thon

May 24, 2018, 4:00 pm–8:00 pm

July 19, 2018, 4:00 pm–8:00 pm

Sep 20, 2018, 4:00 pm–8:00 pm


Crafting from the Collection

June 2, 2018, 10:30 am


Book Club: Reconstructing Amelia

June 7, 2018, 6:00 pm


Trivia Night

June 18, 2018, 6:00 pm


Visit the Amon Carter museum website for more information and to register for programs online.

Crow Collection of Asian Art Updates, Exhibitions, and Programs

The year 2018 will bring major changes to the Crow Collection of Asian Art as the museum undergoes a multi-million-dollar expansion – including a new gallery, reimagined Lotus Shop, interactive “street-side” art studio and Center for Contemplative Leadership. Upon completion of the construction in October, the nonprofit organization will launch its next chapter as the Crow Museum of Asian Art, a name that reflects not only the breadth of the collection and programming but also the museum’s wide and diverse community support.

Read more for details on these exciting new developments


Earthly Splendor: Korean Ceramics from the Collection

(through Sunday, September 9, 2018)

Outstanding examples of contemporary Korean ceramics paired with historical Korean ceramics from the museum’s permanent collection to highlight the material, aesthetic, stylistic, and technical developments of Korean ceramics throughout history.

Fierce Loyalty: A Samurai Complete


Exquisitely crafted and perfectly preserved samurai suit of armor worn by Abe Masayoshi (1700-1769), Lord of Fukuyama Fiefdom in the Edo period (1603–1868).

Current Programs

May 22 – SOLUNA Master Shen-Long 

June 1 – Stay Calm and Cool This Summer, The Ayurveda Way

Weekday Wellness Classes at the Crow Collection. Every weekday from noon-5pm.

Monthly Breathe: Art and Wellness Workshops for veterans and first responders


Kimbell Art Museum Exhibitions and Lectures



From the Lands of Asia: The Sam and Myrna Myers Collection
MARCH 4–AUGUST 19, 2018

When Sam Myers was sent to Paris by his law firm in the mid-1960s, he and his wife Myrna became so enamored with the city that they decided to make it their home. There, over the course of 50 years, they built an extraordinary collection that until now has never been exhibited publicly in the United States. Beginning by acquiring Greek and Roman antiquities but eventually focusing on Asia, the Myers assembled some 5,000 works that offer a very personal vision of the world of Asian art. This exhibition will present over 400 objects selected from this remarkable collection, with works representing key periods in the history of the art of China, Japan, Tibet, Mongolia, Korea and Vietnam.

The exhibition covers a broad historical range, from the Neolithic era to the 20th century. The objects are also highly varied in nature, from porcelain, ivory, and precious stones such as jade and rock crystal to Buddhist art and textiles and stunning costumes from Central Asia, Tibet, China and Japan. Each treasure is exceptional in its shape, rarity, quality, function or inherent message. The exhibition recounts fascinating historical events through themes such as the symbolism of Chinese jade, the trade in blue-and-white porcelain, Buddhism, Noh theater, the Japanese samurai, the tea ceremony, the art of writing and the place of women. The astonishing array of outstanding works of art in the Myers collection is testimony to Asia’s rich cultural heritage and unique customs and offers a broad panorama of Asian history in all its beauty and diversity.

This exhibition is produced by Pointe-à-Callière, Montréal Archaeology and History Complex, Montréal, Canada, in partnership with Sam Myers.




Friday Evening Lectures


Evening lectures by distinguished guest speakers, held thorought the year, address a range of topics relating to the appreciation and interpretation of art.  Free; no reservations required. Seating is limited.Pavillion Auditorium.


Shimmering Splendor, Woven Wealth: Silk in Imperial China and Beyond

MAY 11

Lee Talbot, curator, Eastern Hemisphere Collections, The George Washington University and The Textile Museum, Washington, DC.


From Workshop to Grave: Ancient Chinese Jades

Friday, July 13, 2018 – 6:00 pm to 7:00 pm

J. Keith Wilson, curator of ancient Chinese art, Freer/Sackler, The Smithsonian Institution, Washington, DC



Education Events and Activities


Family Festival: Passport to Asia / Pasaporte a Asia

Sunday, June 3, 2018 – 12:00 pm to 5:00 pm


Film Series


Comprehensive film programs focusing on artists’ careers, major art movements, and important cultural figures provide rich visual and historical context that complement artworks on view.Kahn Auditorium

High Art of the Low Countries

May 27, June 24, July 1

In this sweeping production, British art historian and broadcaster Andrew Graham-Dixon explores the art of the Low Countries. Examining the formation of a ground-breaking school of painting by artists such as Jan van Eyck and Hieronymus Bosch, Graham-Dixon then turns to the prosperous Dutch Golden Age of the seventeenth century that fostered the careers of Rembrandt van Rijn, Johannes Vermeer, and others. In the modern age, the Low Countries once again produced important forward-thinking artists, including Vincent van Gogh and Piet Mondrian.


The Art of Japanese Life & Handmade in Japan

July 8, July 15, July 22, July 29

Explore the vibrant art and culture of Japan in two recent series from the BBC. In The Art of Japanese Life, Dr. James Fox examines how three core themes—nature, the city, and the home— have manifested in Japanese art and life through the centuries. Handmade in Japan follows contemporary artisans’ intricate production of traditional Japanese crafts: the Samurai sword, the kimono, and Mingei pottery. Offered in conjunction with the special exhibition From the Lands of Asia.




Meadows Museum Exhibitions, Events, and Lectures


Memory, Mind, Matter: The Sculpture of Eduardo Chillida 

Through Jun. 3, 2018

Eduardo Chillida (1924-2002) is one of the major sculptors of the post-war international art movement. His monumental public works can be found throughout Spain, Europe and the Americas. Memory, Mind, Matter: The Sculpture of Eduardo Chillida presents 66 works of sculpture, drawing, collage, gravitations, graphic works, and a small selection of artists’ books, representing a general view of the mature phase of this key sculptor of the post-war avant-garde.


Mariano Fortuny y Marsal (Spanish, 1838–1874), Beach at Portici, 1874. Oil on canvas, 27 x 51 ¼ in. (68.6 x 130.2 cm). Meadows Museum, SMU, Dallas. Museum Purchase with funds from Mary Anne Cree, Mrs. Eugene McDermott, Susan Heldt Albritton, Linda P. and William A. Custard, Gwen and Richard Irwin, Shirley and Bill McIntyre, Cyrena Nolan, Peggy and Carl Sewell, Gene and Jerry Jones, Pilar and Jay Henry, Barbara and Mike McKenzie, Caren Prothro, Marilyn Augur, Dr. and Mrs. Lawrence S. Barzune, Diane and Stuart Bumpas, The Honorable Janet Kafka and Mr. Terry Kafka, the Mr. and Mrs. Walter M. Levy Fund of Communities Foundation of Texas, Stacey and Nicholas McCord, Linda and John McFarland, Catherine Blaffer Taylor, Julie and George Tobolowsky, Cheryl and Kevin Vogel, Diane and Gregory Warden, Natalie and George Lee, Estelle and Michael Thomas, Bethany and Samuel Holland, President R. Gerald and Gail Turner, Kathleen and Mark Roglán, and an Anonymous Donor. MM.2017.03. Photo by Robert LaPrelle

At the Beach: Mariano Fortuny y Marsal and William Merritt Chase 

Jun. 24-Sep. 23, 2018

The Meadows Museum, SMU, has acquired Beach at Portici, the last painting of famed Spanish artist Mariano Fortuny y Marsal (1838-1874). The nearly finished painting—which is unusual for its large scale, relative to much of the artist’s work—depicts the enjoyment of a summer day at the beach, and demonstrates Fortuny’s hallmark ability to capture light in paint. Fortuny was an especially popular artist with 19th-century American collectors and audiences, as the particularly American provenance of this work reveals. Reflecting the high esteem in which Fortuny’s works were held, Beach at Portici was featured prominently in the American Pavilion’s “Loan Collection of Foreign Masterpieces Owned in the United States” at the 1893 World’s Columbian Exposition in Chicago. Considered one of the most important international exhibitions of the 19th century, these works were selected to show off to the Fair’s wide audiences— more than 27 million people visited during its six-month run—the richness and breadth of paintings owned by American collectors and museums, and implicitly, American economic prowess, and refined taste in fine art.

Beach at Portici will be on view at the Meadows Museum beginning January 19, 2018. From June 24 through September 23, it will be the subject of a focused exhibition, At the Beach: Mariano Fortuny y Marsal and William Merritt Chase, where it will be paired with a loan from the Amon Carter Museum of American Art, Chase’s Idle Hours (c. 1894). The Spanish artist had a significant impact on many important American artists and perhaps especially on Chase, who knew his work well and greatly admired it.

Read more about “At the Beach”

Murillo at the Meadows: A 400th Anniversary Celebration 

Through Dec. 2, 2018



Family Program: A Day at the Beach

Jun. 23, 10:00 am



Lecture Series: Light, Camera, Landscape: The Rise of International Impressionism

May 31-Jun. 14, 6:00-7:30 pm

Nancy Cohen Israel

Meadows Museum


Lecture: At the Beach: Mariano Fortuny y Marsal and William Merritt Chase

Jun. 28, 6:00 pm

Mark A. Roglán and Andrew Walker

Meadows Museum

Modern Art Museum of Fort Worth Exhibitions

Kamrooz Aram
Blue Backdrop for Minor Arts, 2018
Panel: oil an pencil on linen; Pedestal: oil on mdf, brass, terrazzo; ceramic
Overall: 50 1/4 × 9 × 9 in. Pedestal. Unframed: 48 × 66 × 2 in.Panel
Courtesy of the Artist and Green Art Gallery, Dubai
Image copyright: Photograph by Kevin Todora.

FOCUS: Kamrooz Aram

Mar 31, 2018 – Jun 17, 2018
Spanning painting, sculpture, collage, and installation, Kamrooz Aram’s work investigates the complex relationship between Western modernism and classical non-Western art. By highlighting their formal connections, he reveals the typically downplayed role that non-Western art and design have played in the development of modernism and its drive toward abstraction. Challenging the traditionally Euro-centric narrative established by art history, Aram’s work sets forth to disrupt this perceived hierarchy by merging and equalizing Western and non-Western forms. The artist will present all new work for this exhibition.

 More information on FOCUS


Takashi Murakami
Flower Ball (Lots of Colors), 2008
Acrylic and platinum leaf on canvas mounted on board
59 in. (150 cm) diameter
Cari and Michael J. Sacks © 2008 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.
Image copyright: Photo: Nathan Keay


Jun 10, 2018 – Sep 16, 2018

Known for his collaborations with pop icon Kanye West and fashion house Louis Vuitton, and for vibrant anime-inspired characters, Japanese artist Takashi Murakami (b. 1962) has blurred the boundaries throughout his career between high and low culture, ancient and modern, East and West. Organized by the Museum of Contemporary Art, Chicago, the exhibition is a major retrospective of his paintings, featuring fifty works that span three decades of his career, from the artist’s earliest mature works to his recent, monumentally scaled paintings. The exhibition, titled Takashi Murakami: The Octopus Eats Its Own Leg, shows how Murakami’s art is rooted in traditions of Japanese painting and folklore, and highlights the artist’s careful attention to craft and materials. It also showcases the artist’s astute eye for the contemporary influences of globalization, media culture, the continued threats of nuclear power.

More information on the exhibition

Nasher Sculpture Center Exhibitions and Events


The Nature of Arp
September 15, 2018 – January 6, 2019
The first major North American museum exhibition in three decades
The Nature of Arp provides a long-overdue look at the achievements of Jean (Hans) Arp (1886-1966), one of the most important and multifaceted artists of the modern era.  As a founder of the international Dada movement during World War I, Arp pioneered the use of chance, spontaneity, and collaboration as artistic processes and subsequently developed a vocabulary of curving, organic forms that was to become the lingua franca for several generations of artists.  Arp’s sculptures, begun in the early 1930s, often have no use for a pedestal, can be turned in different orientations, and seem to pulse with incipient life. In later years, he put his sculptures through complex processes of fragmentation, casting, recasting, and enlarging. Almost alone among artists of his generation, Arp worked at the forefront of abstraction as well as the Dada and Surrealist movements.  The Nature of Arp will present a compelling new look at an artist whose experimental approach to creation, radical rethinking of traditional art forms, and collaborative proclivities resonate with the wide-ranging character of art today. Bringing together more than 80 objects, including sculptures, reliefs, collages, drawings, textiles, and books, The Nature of Arp will include works drawn from prominent U.S. and European museums, foundations, and private collections. Organized by the Nasher Sculpture Center, the exhibition will be accompanied by a richly illustrated catalogue including essays by several authors, including Catherine Craft, Nasher Curator and curator of the exhibition. The Nature of Arp is supported by the National Endowment for the Arts and by the Swiss Arts Council Pro Helvetia.

The Nature of Arp
Jean (Hans) Arp, Human Concentration, 1934
Marble, 13 ¼ x 16 x 15 ½ in. (33.7 x 40.6 x 39.4 cm)
© 2018 Artists Rights Society (ARS), NY / VG Bild-Kunst, Bonn

Sightings: Anne Le Troter
October 27, 2018 – February 19, 2019
Artist’s first U.S. commission will consider ethics of eugenics in a linguistic score and site-specific installation
As part of the Nasher Sculpture Center’s Sightings series of smaller-scale exhibitions and installations that highlight new work of emerging or established artists, the Nasher will present Sightings: Anne Le Troter in the fall of 2018. For this commission, Le Troter is developing a sound piece based on her research on fertility tourism and the history of sperm banks in the U.S., where the lack of governmental regulation has resulted in the rise of so-called “designer babies”—children whose genetic makeup can be preselected based on the characteristics of the donor. In the artist’s home country of France, donor conception is arranged exclusively by the state via 23 state owned centers for the study and conservation of human eggs and sperm. There, both sperm and egg donations are entirely anonymous and French law prohibits sharing any identifying information about the donor or recipient. The U.S. is one of the few places in the world where recipients can review the profiles of potential sperm and egg donors before making a selection and many banks also provide audio recordings that describe donors’ physical characteristics, personalities, and intelligence. As part of her research, Le Troter signed up as a customer at a cryobank based in Virginia where she gained access to over 400 donor audio recordings. For the Nasher exhibition, Le Troter will splice together and layer excerpts of the original recordings to create a linguistic score reminiscent of and inspired by such science fiction novels as Aldous Huxley’s Brave New World (1932), George Orwell’s Nineteen Eighty-Four (1949), and Margaret Atwood’s The Handmaid’s Tale (1985). Titled Anticipation, Le Troter’s sound piece considers the ethics of eugenics as well as the dystopic future of state regulated vs. free market fertility. Sightings: Anne Le Troter is the artist’s first U.S. commission and will be Le Troter’s first work in the English language. For an excerpt of Le Troter’s Anticipation currently in progress, please follow this link:

Lectures and Events

May 17/ 9 p.m.

Nasher Sculpture Center

Grubnik + Suzanne

Presented by SOLUNA

Jeff Gibbons and Gregory Ruppe, two of Dallas’s most respected creators, present the world premiere of their artwork Grubnik + Suzanne.

Experience this immersive installation, which includes a performative element by vocal artist Liz Tonne, and utilizes sound technology invented by the artists to present a psychologically charged experience.

Open to the public.




May 18 / 6 p.m. – 12 a.m.

‘til Midnight at the Nasher

Julie Byrne and Vagabon

A music-playing nomad, Julie Byrne has toured the world. Her vast amount of experience lends a credibility to her stark take on 1970s-era song craft that stands out from most acoustic-based folk singers.

The Cameroon-born singer/songwriter—aka Laetitia Tamko–had a breakout year in 2017 and recently enjoyed an appearance on NPR’s popular Tiny Desk concert series.

Open to the public.

FREE admission.

Learn more at


May 24  / 6 p.m.

Nasher Sculpture Center

Workshop: Sound Off

Immerse yourself in artist Luke Fowler’s site-specific sound installation in the Nasher Garden. Then get ready to turn up the volume as we compose an original soundscape inspired by our surroundings. This workshop is designed for adults ages 17+. Learn something new, have a snack and get creative.

Open to the public.

FREE for Members.

$10 for Non-members.

Advance registration required.

Learn more at


June 2 / 10 a.m. – 5 p.m.

Nasher Sculpture Center

Target First Saturdays

Bring the kids and enjoy FREE admission and fun family programming on the first Saturday of every month.

Big Idea: Collecting

Art Project: Collection Collage

FREE Admission 10 a.m. – 5 p.m.

Family Activities 10 a.m. – 2 p.m.

Learn more at


June 2 – August 11

Mayor’s Summer Reading Challenge

Both reading and art can take your imagination on wonderful journeys. This summer the Nasher invites you to create a work of art that you can keep with you while you read. Pick up an entry form at the Nasher or your local Dallas Public Library branch. Learn more at


June 11 – 15 / 9 a.m. – 12 p.m., daily

Nasher Sculpture Center

Nasher Kids Camp

Have you got design on your mind? Have you seen it on a sign? Design is everywhere, in what we use and what we wear. Spend a week at our place and design your own space. We will learn as we play, with a new theme every day.

Open to students who have completed 1st – 5th grade in 2018.

Members $125. Non-Members $150.

Registration deadline is May 18.

Learn more at


June 9 / 9 – 11 a.m.

Dallas Zoo

Kids Club: Dallas Zoo

Enjoy a morning of family-friendly art-making at the Dallas Zoo, a Kids Club partner institution.

Open to Members at the Moore Circle ($125) and above. Learn more at


June 15 / 6 p.m. – 12 a.m.

Nasher Sculpture Center

‘til Midnight at the Nasher
This Will Destroy You: Performing S/T and Young Mountain in their entirety
 (San Marcos, TX/Los Angeles): Long-running instrumentalists This Will Destroy You will celebrate the tenth anniversary of their eponymous 2008 studio album by performing their record in its entirety. The band will also play the coveted Young Mountain record in full.

Open to the public.

FREE admission.

Learn more at




June 25 – 29 / 10 a.m. – 4 p.m., daily

Nasher Sculpture Center

Nasher Summer Institute for Teens

Meet other students who love art, work with artists and get advice from professionals in the art community.

Teachers may nominate students who have completed 9-12th grade in 2018.

FREE for selected students.

Learn more at



July 4

Independence Day / Museum Closed


July 7 / 10 a.m. – 5 p.m.

Nasher Sculpture Center

Target First Saturdays

Bring the kids and enjoy free admission and fun family programming on the first Saturday of every month.

Big Idea: Construction

Art Project: Build-it Boxes

FREE Admission 10 a.m. – 5 p.m.

Family Activities 10 a.m. – 2 p.m.

Learn more at


July 9 – 13 / 10 a.m. – 4 p.m., daily

Museum Forum for Teachers:

Modern and Contemporary Art

Museum Forum is an immersive weeklong summer program for educators presented by The Warehouse, Nasher Sculpture Center, Dallas Museum of Art, Kimbell Art Museum, and Modern Art Museum of Fort Worth.

$250 tuition includes all instruction, materials, and lunch each day.

Learn more at


July 18, 19 or 20 / 9 a.m. – 5 p.m.

Nasher Sculpture Center

Destination Dallas Summer Architecture Workshop

Join architect and educator Peter Goldstein, AIA for an exciting one-day look at the intersection of natural and built environments in the Dallas Arts District.

Open to students who have completed 8th – 12th grade in 2018.

FREE Admission.

Registration deadline is May 31.

Learn more at


July 20 / 6 p.m. – 12 a.m.

Nasher Sculpture Center

‘til Midnight at the Nasher

Julianna Barwick (New York) with Mary Lattimore (Los Angeles): 

Combining two ancient aspects of music—the voice and the harp, respectively—with contemporary technology, Julianna Barwick and Mary Lattimore are noted for their unusual approach to looping effects. Barwick has stunned audiences worldwide with a sound that’s been described by the New York Times as “churchly and vaguely Renaissance, but also very now.” The sight of Lattimore’s Lyon and Healy Concert Grand harp taking the stage is a spectacle unto itself.

Open to the public.

FREE Admission.

Learn more at


August 4 / 10 a.m. – 5 p.m.

Nasher Sculpture Center

Target First Saturdays

Bring the kids and enjoy free admission and fun family programming on the first Saturday of every month.

Big Idea: Process

Art Project: Process Postcards

FREE Admission 10 a.m. – 5 p.m.

Family Activities 10 a.m. – 2 p.m.

Learn more at


August 17 / 6 p.m. – 12 a.m.

Nasher Sculpture Center

‘til Midnight at the Nasher

Tess Roby (Montreal):

Tess Roby’s live act includes her brother Eliot Roby on guitar. Having premiered her “Ballad 5” single on the influential Dallas music website Gorilla vs Bear last May, Tess Roby is embarking on her first headlining tour this year. Roby’s single was released by Italians Do It Better, the internationally-acclaimed record label that has had a significant impact on the synthesizer-heavy sound of both dance music and soundtracks of the past decade.

Open to the public.

FREE Admission.

Learn more at



August 25 / 2 p.m.

360: Speaker Series

Tauba Auerbach, Artist

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 and students.


Watch 360 Speaker Series videos at


September 1 / 10 a.m. – 5 p.m.

Nasher Sculpture Center

Target First Saturdays

Bring the kids and enjoy free admission and fun family programming on the first Saturday of every month.

Big Idea: Family

Art Project: Family Frames

FREE Admission 10 a.m. – 5 p.m.

Family Activities 10 a.m. – 2 p.m.

Learn more at


September 8 / 11 a.m. – 1 p.m.

Nasher Sculpture Center

Workshop: Ice, Ice Baby

Have your cake and eat it too as we create edible art in the medium of frosting. Join a renowned pastry chef for a lesson in icing techniques let your palate guide your palette.

This workshop is designed for adults ages 17+. Learn something new, eat some cake and get creative.

Open to the public.

FREE for Members.

$10 for Non-members.

Advance registration required.

Learn more at


September 13 / 6:30 p.m.

Nasher Sculpture Center

Patron Dinner

The Nature of Arp

Join us for a cocktail reception and exhibition viewing, followed by the annual Patron Dinner, held in celebration of the opening of The Nature of Arp.

Open to Members at the Brancusi Circle ($2,500) and above. RSVP to 214.242.5152 or to


September 14 / 7 – 9 p.m.

Nasher Sculpture Center

Member Preview

The Nature of Arp

Explore The Nature of Arp before it opens to the public. Join us for a Members-exclusive exhibition preview and reception.

Open to all Members. RSVP to 214.242.5154 or to



September 15

Nasher Sculpture Center

360: Speaker Series

The Nature of Arp Symposium

Join us on opening weekend of The Nature of Arp for a thoughtful discussion about the work of one of the most important and multifaceted artists of the modern era.

Open to the public.

FREE with admission.

FREE for Members and students.


Watch 360 Speaker Series videos at


September 21 / 6 p.m. – 12 a.m.

Nasher Sculpture Center

‘til Midnight at the Nasher

CCFX (Olympia, Washington):

A new super-group hailing from Olympia, Washington, CCFX is the result of a merger between two Olympia pop music outfits, CC Dust and Trans FX. On their debut self-titled EP, artists Chris McDonnell, Mirče Popovic, Mary Jane Dunphe and David Jaques offer a record that is at once a showcase and aberration of what is currently coming out of the Pacific Northwest.

Open to the public.

FREE Admission.

Learn more at


September 22 / 11 a.m. – 1 p.m.

Nasher Sculpture Center

Workshop: This Bud’s for You

Plant yourself among the organic forms of artist Jean Arp, who was inspired by the organic growth of buds bursting from a tree and the curves of living bodies. Enjoy a guided discussion in the galleries then become a budding artist by creating your own biomorphic artwork. This workshop is designed for adults ages 17+. Learn something new, have a snack and get creative.

Open to the public.

FREE for Members.

$10 for Non-members.

Advance registration required.

Learn more at


September 29 / 9 – 11 a.m.

Nasher Sculpture Center

Kids Club: Nasher Sculpture Center

Enjoy a morning of family-friendly art-making led by North Texas artists, guided tours, a scavenger hunt, and more at the Nasher.

Open to Members at the Moore Circle ($125) and above. Learn more at

The Warehouse Presents Topologies

Nobuo Sekine; Phase No. 10, 1968; wood, oil-based paint, and F.R.P.; Dallas Museum of Art and The Rachofsky Collection


Curated by Mika Yoshitake

The Warehouse

May 14 – December 28, 2018

Felix Gonzalez-Torres once said, “How do you reinvent—how do you deactivate—a space? How do you use space in ways that are subtly subversive, or subtly altering?” This provocation paved the way for his participatory and relational practice that interrogated the conditions of existence by activating the politics and poetics of space. This activation is a key notion of topology (“logic of place”) in the arts, a theory of spatial transformation in which space can be expanded, contracted, distorted and twisted, yet the structure itself remains invariable. Taking this formal definition as a launching point, the term denotes a field of semantic and sensory relations where one’s movement, rather than the static object itself, constitutes the “work.” A turn from the fixed structures of Euclidean geometry and empiricism, topology instead incorporates a breakdown of boundaries, open structures, or a crossing of disciplines that question systems of knowledge. Historically, these transformations range from surrealist encounters between found objects and the scientific world, gravity and entropy, to post-minimalist strategies of duration and process where artists conveyed the body and materials in-formation or in de-formation in order to explore multidirectional experiences of space.

The poetic interpretation of topology in the late 1960s as a source of inspiration for artists is internationally contemporaneous. In Japan, the idea was interpreted through a physics of form and foundational to Mono-ha’s breakthrough land art piece in 1968, Phase-Mother Earth.This work, by artist Nobuo Sekine, operates on a continuous renewal of perception through a cycle of creation and recreation. In the U.S. the idea was introduced into art criticism by Dan Graham in his seminal essay, “Subject Matter” (1969) defined as “a constant process of spatial warp…” where agency is given to objects in which “our visual field, itself in the process of alteration, shifts in a topology of expansion, contraction, or skew.”

Gathering roughly 100 works between 1952 and 2014 by seventy artists, Topologies cuts across time both diachronically and synchronically and draws from The Rachofsky Collection’s strong formal and conceptual emphases on works that integrate process and materiality. Each gallery presents topological themes that range from permutations and distortions in spatial dimension; inverses and shifts in the body’s phenomenological relationship to space; material transition based on gravity and entropy; politics of displacement; and reconceiving abject encounters between the synthetic and organic (speculative realism). These will be considered in terms of comparative, morphological, and synthetic methods of inquiry in the catalogue.

Reading Room Exhibition

to Further Seasons

to Further Seasons, a group exhibition of unusual images and texts about nature, curated by artist, writer and curator Lucia Simek, will open April 28 at The ReadingRoom and continue through June 9.

The exhibition will include visual material from Jesse Morgan Barnett, Cassandra Emswiler Burd, Trevor Davis, Michael Dean, Erika Duque, Ian Hamilton Findlay, Jen Porembski, Marjorie Schwarz and Myron Stout, as well as works by unknown artists. The interplay of visual and textual materials will explore ideas of fecundity, blossoming, pollination, scientific exploration, horticulture, wizardry, danger and beauty.

Visit the Reading Room website or contact Karen Weiner 214.952.4109

Director’s Welcome

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

The W. Ray Wallace Athenaeum

The Edith O’Donnell Institute of Art History is already a vital part of the intellectual landscape of both UT Dallas and the art history community of North Texas. Our headquarters in the Edith O’Donnell Arts and Technology Building at UT Dallas and at the Dallas Museum of Art buzz with activity as visiting scholars, faculty, area art historians, museum professionals, graduate students, and members of the art-loving public come together for meals, discussions, formal seminars, lectures, and receptions.

But the ambitions that Mrs. O’Donnell has for her Institute of Art History are greater than those two headquarters can contain, and we are now ready to complete fundraising and begin construction on a much larger home for the O’Donnell Institute, to be called The W. Ray Wallace Athenaeum.

The Wallace Athenaeum will be built at the very center of campus and near its east entrance, allowing residents of Dallas’s northern suburbs to come together with University students, staff, and faculty in a new institution that will link what are usually the separate functions of museums, libraries, and academic teaching facilities.

We chose the word Athenaeum because it includes all of those functions under the umbrella of a term with roots in the very origin of western civilization in ancient Greece. The Wallace Athenaeum will be only the second such institution formed at a University; it is perhaps not an accident that the first was founded at the California Institute of Technology (CalTec) in 1929. Other Athenea in the United States are places where books and art create a context for people of all ages and levels of education to meet for discussions, reading groups, art groups, formal and informal courses, research, meals, and receptions. An Athenaeum is less about its collections than about the way people gather to use them to create knowledge.

To anchor the Athenaeum, a small group of world-class libraries will be combined in a new art history research library, among the best in Texas and the entire center of the U.S. It will be named after the largest library to come to UT Dallas, the Wildenstein-Plattner Library. Amassed over the course of the twentieth century by the Wildenstein family, it is the largest and finest private art library ever formed, comprising more than 250,000 volumes as well as rare pamphlets, prints, sales catalogues, exhibition catalogues, and art periodicals from the eighteenth century to the present. That library will be joined by the private library of Dr. Alessandra Comini, Professor Emerita at Southern Methodist University and the collector of over 34,000 volumes related to art and architecture in Europe, including central and northern Europe. The Comini Library will join the Wildenstein-Plattner Library along with portions of the private libraries of Mr. Nash Flores, S. Roger Horchow, Mr. and Mrs. Ivan Phillips, Peter and Perry Rathbone, Gail Sachson, Oliver Watson, John Wilcox, and myself as well as other libraries that will come to us in years ahead. Although a good deal of information about art is available digitally, web-based information is less accurate and comprehensive than the seven generations of art historical scholarship in print represented in these libraries.


Crow Museum of Asian Art

Another development over the past months is the prospect that the Crow Museum of Asian Art will build a North Dallas facility at UT Dallas as part of the Wallace Athenaeum. The Crow will keep its Arts District facility with its intimate galleries for about 200 works of art from the collection. But, with a collection of around 1,000 objects from China, Japan, Korea, India, Pakistan, and Cambodia, the museum needs space for exhibitions and storage as well as for study and research. A collection of Asian and South Asian art is especially fitting at UT Dallas, since a significant portion of our faculty and student body are Asian or Asian-American, and the center for the large Asian population of greater Dallas is the city’s northern suburbs.

Bringing together the Wildenstein-Plattner Library, the Crow Museum of Asian Art, and the Edith O’Donnell Institute of Art History, as well as exhibition spaces, seminar rooms, a lecture/performance hall, and facilities for dining and events, current plans for the Athenaeum call for four interconnected buildings that open onto three enclosed gardens. These lush landscapes will have water features, seating, shady paths, and places to sit and meditate or simply to stroll. What better environment to reflect on the visual arts in world history than in a library, a museum, and an institute surrounded by gardens?

Mrs. W. Ray Wallace has made a naming gift of $10,000,000.00 and Mrs. Eugene McDermott has donated $5,000,000.00, so we are launched. With an additional sum of $5,000,000 we will officially begin the architectural and landscape plans. We hope to do this by summer of this year, and aim to break ground toward the end of 2018.


Richard R. Brettell, Ph.D.

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

Greetings from the Associate Director

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

Our Spring semester of academic programs began with two outstanding Workshop Talks from Edith O’Donnell Graduate Fellows Aditi Samarth and Fatemeh Tashakori, the first nearing completion of the dissertation and the second in the earliest stages of discovery. Samarth traces the transmission and adaptation of burial practices in Hindu diaspora communities (including Dallas); Tashakori is assembling and studying for the first time a group of Persian murals that reframe western images of the female body. Both deal with images, artworks, and ritual in circulation across space and time, overturning existing assumptions and imagining new ways of doing art history. Later this semester, Workshop Talks from our other O’Donnell Fellows will prove similarly generative. We are also looking ahead to putting together our next group of Fellows for the 2018-2019 academic year—a call for applications appears at the end of this newsletter.  Meanwhile, we are working hard on two research initiatives that will launch this Fall. In September, the O’Donnell Institute will assume stewardship of The Wilcox Space,with whom we have collaborated over the past five years to show and study the paintings and works on paper of the artist John Wilcox. In this next phase, we will dedicate The Wilcox Space to exhibiting and documenting the work of Dallas-based painters who, like Wilcox, engage with the craft and theory of the medium of painting. Exhibitions at The Wilcox Space will combine with open-access digital publications, public and academic programs, and a small artist’s library built around Wilcox’s own to create a forum or incubator for looking at and thinking about painting.

La Capraia at the Museo di Capodimonte

Also opening its doors this Fall is our new research center in Naples at the Museo di Capodimonte, the Center for the Art and Architectural History of Port Cities / Centro per la Storia dell’Arte e dell’Architettura delle Città Portuali. On my most recent trip to Naples, we finalized a memorandum of understanding between the O’Donnell Institute and the Capodimonte and began work to prepare La Capraia (“the goat farm”), an eighteenth-century agricultural building at the heart of the Museum’s surrounding bosco, to welcome research residents and scholarly programs beginning in September. I also spent time visiting with colleagues at universities, research institutes, and libraries throughout Naples, in an effort to weave the Center into the scholarly life of the city from the very beginning. My hope is that the Center will become a place where scholars from Italy, the United States, and around the world will come together to think in new ways about the art histories of port cities and other centers of encounter, exchange, and transformation.

Dr. Sarah K. Kozlowski

Associate Director

The Edith O’Donnell Institute of Art History

EODIAH Celebrates Four Years

The Edith O’Donnell Institute of Art History at the University of Texas at Dallas celebrated its fourth academic year by honoring Edith O’Donnell, its inspirational founder, at a special dinner on Wednesday, November 29, 2017 in the Ann and Jack Graves Ballroom of the Davidson-Gundy Alumni Center located at UT Dallas.

The evening was hosted by Dr. Richard C. Benson, President of the University, and the Founding Director of the Institute, Dr. Richard R. Brettell.  Following a film tribute to Mrs. O’Donnell for her generosity and commitment to the arts, Dr. Brettell announced that major gifts have been received to begin plans to build the W. Ray Wallace Athenaeum which will house a new art library and major art collection that have been promised to the University.

In addition, he shared that the new headquarters of the O’Donnell Institute will be housed in the Wallace Athenaeum, which will be surrounded by gardens designed by Peter Walker, the world-renowned landscape architect behind the landscaping master plan funded by the University’s most important donor, Margaret McDermott.  With these gifts received, UT Dallas is poised to create The Wallace Athenaeum at the very center of its campus and to provide a place of inspiration and intellectual exchange in the arts on a campus dedicated to STEAM.

Attendees of the Fourth Annual Dinner included: Edith and Peter O’Donnell; Dr. Richard C. Benson, President, University of Texas at Dallas, and Leslie Benson; Dr. Richard R. Brettell, Founding Director of The Edith O’Donnell Institute of Art History, and Dr. Caroline Brettell; Gay and Bill Solomon; Mr. Richard Barrett; Carol Kradolfer; Ruth O’Donnell Mutch; Mrs. Margaret McDermott; Beatrice Carr Wallace; Caren Prothro; Dr. Hobson Wildenthal; Wendy and Jeremy Strick; Nancy Dedman; Rachael and Bob Dedman; Elizabeth Boeckman; Ann and Gabriel Barbier-Mueller; Roger Horchow; Mary McDermott Cook and Dan Patterson; Dr. Kern Wildenthal and Marnie Wildenthal; Mrs. Nancy Shutt; Mrs. Peter Denker; and Ms. Pat Patterson.

EODIAH thanks its many generous friends and supporters. We look forward to working with all of you to achieve our future plans. Stay tuned for more information and ways you may wish to support this ambitious project.

Edith O’Donnell; back row (left to right) Carol Kradolfer, Peter O’Donnell, Jill Wilkinson, Ruth Mutch, Travis Andres, Mary Gorter

Mary McDermott Cook and Dan Patterson

Margaret McDermott, Richard Barrett, and Dr. B. Hobson Wildenthal

(Left to right) Richard Barrett, Mrs. Ray Wallace, Dr. Richard Brettell

Dr. Caroline Brettell, Mrs. Ray Wallace, and Caroline Brown

Dr. Richard C. Benson, President of UT Dallas; and Mrs. Leslie Benson

Rachael and Bob Dedman, and Mrs. Nancy Dedman

Gay and Bill Solomon, and Ms. Salle Stemmons

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 M. Buchanan

Director of Development

The 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 began this year with many exciting new developments.


New Publications


Pitman published an article in The Journal of American Medicine Association (JAMA) highlighting contemporary artist Beverly Fishman, whose large-scale, pill-shaped reliefs explore intersections between the pharmaceutical industry, colors and surfaces of drugs, and relationships with illness. Fishman veneers her pill forms with slick layers of jarringly vibrant colors that shift and vibrate based on viewer perception. The confrontation of these wall-mounted abstractions with names such as “Untitled (Stacked Pills)” are meant to spark dialogue concerning the myriad ways medications have permeated and inform our culture.

Read the article, “Pharma Art – Abstract Medication in the Work of Beverly Fishman,” Journal of the American Medical Association here

Read more about Beverly Fishman


Beverly Fishman, Untitled (Stacked Pills), 2016 (right: detail). Urethane paint on wood, 149.9 cm × 121.9 cm × 5.1 cm. Photo courtesy of PD Rearick.






Art of Examination


This Spring 2018 semester sees 32 medical students from UT Southwestern enrolled in The Art of Examination, a preclinical elective focusing on developing skills for clinical diagnosis through looking at works of art. Now in its fourth year, Bonnie Pitman with faculty partners Heather Wickless, MD, Assistant Professor of Dermatology, UTSW; Courtney Crothers, UTSW Art Curator; and Dallas Museum of Art educators Lindsay O’Connor and Amy Copeland, instructs students in using the power of art to learn observation and communication skills related to working with patients.


Sessions are held at the Dallas Museum of Art, Nasher Sculpture Center, The Warehouse, The Crow Collection of Asian Art, and UT Southwestern Medical Campus to address topics including conservation, artists with disease, empathy, physician burnout, and cultural influences. Students learn to synthesize personal observations, knowledge, and experiences as they gain awareness of collaborative thinking and communication processes. The class engages students in discussions, drawing and writing exercises, lectures, and interactive experiences all designed to cultivate skills beneficial to clinical practice.


Art of Examination students learn new ways of relating to art by mirroring poses in the DMA’s European Art galleries.


Art of Examination students explore connections between art and science at the DMA Conservation Lab with DMA conservator Laura Hartman



Center for Brain Health


As the newly-named Director of Art – Brain Innovations at the UT Dallas Center for BrainHealth, Bonnie Pitman expands her research and teaching of the art of observation, meditation, and compassion. This Spring, Pitman will develop lectures and workshops that provide strategies to improve brain performance around her initiatives Do Something New®, her daily practice of focus and celebration of making an ordinary day extraordinary while dealing with chronic illness, and the Power of Observation, an initiative that connects neurological research with the experience and process of seeing, looking and observing.


Register for Bonnie Pitman’s upcoming Sips and Science talk on DO Something New!

April 12, 2018

6:30 pm – 8:00 pm

Center for Brain Health Campus


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

Henri Matisse drawing with bamboo pole tipped with charcoal in his studio, Nice, France. Photo by Robert Capa





The Institute has an exciting array of programs for the spring semester. We will welcome an impressive list of guest presenters from important institutions across the country. From the Institute of Advanced Studies in Princeton, art historian Dr. Yve-Alain Bois will present his latest research on Henri Matisse’s adoption of the bamboo stick to draw his late stations of the cross, hosted by the Nasher Sculpture Center on March 27, 6:00 p.m. Our Visiting Research Professor Dr. Suzanne Preston Blier will give a public lecture on her book project on Picasso’s Demoiselles d’Avignon and his diverse sources of inspiration for the iconic work on April 5, 7:00 p.m. at the Dallas Museum of Art. Dr. Thomas Gaehtgens, Director of the Getty Research Institute, will discuss the impact of Gilded Age American collectors on Europe’s artistic patrimony from the perspective of the great German museum director Wilhelm von Bode on April 10, 7:30 p.m. at the DMA. Our graduate fellows will present their dissertation research throughout the semester, with topics ranging from early modern playbook title pages to new media race humor. The spring will culminate with Intersections: Visual Cultures of Islamic Cosmopolitanism, a collaboration between the O’Donnell Institute; the Islamic Art Revival Series, a program of the Texas Muslim Women’s Foundation; and the Agha Khan Council in Dallas. The symposium will be on May 4 – 5 at UT Dallas, the DMA, and Ismaili Jamatkhana Plano.


Our fifth vitrine exhibition, selected by DMA Curator Dr. Anne Bromberg, will be installed in late March. It will display a collection of Asian ceramics that correlate with Dr. Bromberg’s current exhibition, Asian Textiles: Art and Trade Along the Silk Road, which highlights the passage of luxury goods along the Silk Road between Asia, India, and Uzbekistan, among others. Be sure to spend time in the exhibition on Level 3 at the DMA before heading downstairs to see the ceramics on display in our vitrine.


We hope you can join us this spring at our many programs and look forward to the dialogues created by the new scholarship presented. Visit our website at and plan your calendar!


Lauren LaRocca

Coordinator of Special Programs

The Edith O’Donnell Institute of Art History

ISAAC Report 2017-2018

The Institute welcomed our first group of ISAAC scholars from Nanjing University last fall and we took our first research trip in early October to Chicago. The Terra Foundation of American Art staff, Director Elizabeth Glassman, Curator PJ Brownlee, and Carrie Haslett, Program Director of Exhibition & Academic Grants, welcomed us to the city. A special tour of their impressive collection included early American landscapes, portraiture and genre painting.

Liu Yi and Gao Xin in the Terra Foundation’s art vault



ISAAC scholars at the Block Museum of Art’s study room with Curator Corinne Granoff

Our week included visits to significant American art museum collections including the Art Institute of Chicago and the Block Museum of Art at Northwestern University. Each institution’s curatorial staff graciously hosted our group and engaged in meaningful dialogue with the scholars. Midway through the week, we travelled to the South Side to meet renowned Chicago sculptor Richard Hunt at his studio. Executed in welded and cast steel, aluminum, copper, and bronze, Hunt’s abstract creations are in collections across the globe, including his 2016 installation at the National Museum of African-American History and Culture in Washington, D.C.

Gao Xin and artist Richard Hunt in his studio

We also had the opportunity to visit four private collections. Works by the Chicago Imagists featured prominently in two of the collections; another contained a comprehensive collection of photographs that spanned the history of the medium. The fourth displayed Arts and Crafts collections in settings created to reflect the aesthetics of the movement, including the work of Gustav Stickley.


Following Chicago was a trip in mid-October to New Mexico, with time in Santa Fe, Albuquerque, Abiquiú, and Taos. The scholars were introduced to the art, culture, history, and landscape of the Southwest. Our trip began with a drive to Albuquerque, the new home for Dallas artist Jean Lacy and her son Nathaniel Lacy, and her large collection of art and objects including folk art and Native American pottery. Lacy’s own work focuses on the African-American experience. She shared her recent work with the scholars, a series of cigar boxes that display small tableaus of found objects and text that respond to current issues of race and politics.



Gao Xin at the Georgia O’Keeffe Research Center with Director Eumie Imm Stroukoff





View from Georgia O’Keeffe’s Abiquiú Home and Studio

An important focus of the trip was on the life and work of Georgia O’Keeffe, with time at the O’Keeffe Museum and Research Center, and her Abiquiú home and studio. Scenic drives to and from our appointments revealed familiar landscapes and forms seen in O’Keeffe’s work. Other notable collections of folk art and Taos art were at the International Museum of Folk Art and the Harwood Museum respectively.

Dr. Zhou Xian in the International Folk Art Museum’s art storage with Curator Laura Addison

The scholars will take five more research trips this year before they return to Nanjing in August. Their travels will take them to Washington, D.C., up the Rockies from Denver to Cody, up the Mississippi from St. Louis to Minneapolis, to Philadelphia and New York City, and to Arkansas and Oklahoma. Opportunities to meet scholars, students, and collectors and to explore collections, archives, and libraries throughout the United States serve to train a new generation of Chinese art historians who are equipped to teach American art history at the university level throughout China.


Please join us on Tuesday, March 6th, 4:00 p.m. in the DMA Research Center for a research report from our ISAAC scholars. Liu Yi is working on a book about American landscape painting, and Gao Xin is working on a study of American Modernism and its interactions with various forms of European Modernism. Both are brilliant, personable, and very important for scholarly relations with China since each will write the first books in Chinese on American Art before 1945. Yi and Xin will each share their research projects and future plans to create an undergraduate seminar for their students upon their return to China. I hope you can join us in March and meet these exceptional scholars.


Lauren LaRocca

Coordinator of Special Programs

The Edith O’Donnell Institute of Art History

Welcome to EODIAH’s New Business Administrator, Heidi Kessell

All of us at The Edith O’Donnell Institute are happy to introduce our new Business Administrator, Heidi Kessell. Born in Iowa and raised in Florida, Heidi earned a BA in Anthropology from Southern Methodist University. She has worked with the University of Texas System since 2010 and at UT Dallas since 2013. With her optimism, pragmatism, and encyclopedic knowledge of the University, Heidi has already become an invaluable part of the O’Donnell Institute family. Please stop by to welcome her into the fold!

Dr. Charissa Terranova, Associate Professor of Aesthetic Studies

The anthology D’Arcy Wentworth Thompson’s Generative Influences in Art, Design, and Architecture: From Forces to Forms, coedited by Dr. Charissa N. Terranova Ellen K. Levy, has been contracted by Bloomsbury Press.

In November 2017, Terranova gave the talk, “Bacteriophiles Unite! The Protean Identity Politics of Bacteria within Bioart” at the annual meeting of the Society for Literature, Science, and the Arts in Tempe, Arizona. The paper was part of the panel Other Signals: Communication among Forms of Embodiment, chaired by Meredith Tromble.

In October 2017, Terranova went to the UK for research and to give a conference talk and three invited lectures. The conference talk was titled, “Space, Time, Visualization: D’Arcy Wentworth Thompson, Joseph Plateau, and the History of Art-Sci Imaging,” at the Centenary Celebration of D’Arcy Wentworth Thompson’s On Growth and Form, University of Dundee, in Scotland. Other talks included “Fearless Polymathy: The Morphogenic Modernism of British Art-Science-Design,” at LASER, Leonardo/The International Society for the Arts, Science, and Technology, in London and “Modeling Expanded Evolution: The Work of D’Arcy Wentworth Thompson, Stuart Kauffman, and Gemma Anderson,” at a workshop on D’Arcy Wentworth Thompson that was co-sponsored by the Lorentz Center and University of Amsterdam, Leiden, NL.

The Athenaeum Review: A New Review of Arts and Humanities

The Athenaeum Review (formerly Formwork) is a new publication of the UT Dallas School of Arts and Humanities, co-sponsored by the Edith O’Donnell Institute of Art History, whose mission is to share serious, thoughtful work in the arts and humanities with the general public.

The Athenaeum Review publishes essays, reviews and interviews by leading scholars, with a particular focus on exhibitions, performances, and other cultural and intellectual events in the Dallas-Fort Worth area, as well as the arts and books more generally. Our first issue will appear this fall, and include essays by Richard Brettell, Founding Director of the O’Donnell Institute, Charissa Terranova, associate professor, and Paul Galvez, postdoctoral research fellow at EODIAH.

For more information, please contact Benjamin Lima at


Virginia Curry, EODIAH Graduate Fellow

Virginia Curry, EODIAH Graduate Fellow and UTD doctoral student in Humanities and Aesthetic studies, has been selected to present a paper at the Annual Conference of the Association for Art History, this April.  This year’s theme is “Looking Outwards” and held at the Courtauld Institute of Art & King’s College, London.  Curry will present on the panel “From the Phoenicians to the Celts; Toward a Global Art and Architectural History of the Ancient Mediterranean”.  Her paper is titled, “Familia in Eternam: The Intimate Imagery of the Egalitarian Etruscan Couple”.  Its abstract is included below.


Familia in Eternam: The Intimate Imagery of the Egalitarian Etruscan Couple

Virginia M. Curry

The sculpted and incised figures on the sarcophagi and urns of Etruscan affinal couples, spanning the period from approximately 600 BCE to 100 BCE represent the ancestors of the families aligned in what some scholars consider as essentially theocratic regional leagues throughout Etruria. The sculpted and incised figures on these funerary urns often appear quite animated and intimately portrait-like. They are usually inscribed with the full names of the husband and the wife, including the full names of each of their parents. These elements suggest that proof of the preservation of their lineage was intentional because it was a continuous, active and consistent practice during this period. My original catalogue of the 44 known couple’s sarcophagi and urns demonstrates the Etruscans intention to artistically portray themselves as fervently religious, affectionate and joyfully banqueting together in the afterlife. This motif was later included in many individual urn bases in Volterra where some of the names of the deceased were adapted from the Etruscan language to Latin, but maintained Etruscan nomenclature. I argue that the strong insignia of ancestral and family unity appears to have retarded the pace of their Roman acculturation through this intelligent new kind of blended society. It allowed the Etruscans the opportunity to synthesize their iconic motifs, inscriptions and ancestry with that of the Romans, as their Etruscan ancestors lent the power of their agency as the ancestors of the Romans.

Farewell to Bill Jordan

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Prado Museum Publication

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

Gail Sachson Honored with Lifetime Achievement Award

Gail Sachson

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