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

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

Dallas Museum of Art News and Exhibitions

Image courtesy The Dallas Museum of Art

The New AOL (Art Online)

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


Image courtesy The Dallas Museum of Art

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

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


Image courtesy The Dallas Museum of Art

Spring Cleaning

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



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

Modernism on the Road

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





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

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

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

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

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

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

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

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

DMA organized


Arts & Letters

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

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

First Methodist Church of Dallas

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

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

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


Dallas Museum of Art Announces Acquisition of Yayoi Kusama Mirror Room

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

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

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

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

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

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

READ MORE about the DMA’s new acquisition.

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

Dallas Museum of Art Presents

Truth: 24 frames per second

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

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

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

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

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

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

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

READ MORE about this ground-breaking show.

Crow Collection of Asian Art Events and Lectures

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

Invisible Cities Forum

October 14 @ Crow Collection | 1 – 6 PM

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

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


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

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

Includes performances and lectures by:

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

Beer (or softdrink) & Pretzels in Skybridge

Screening & Talk by Ho Tzu Nyen (Singapore)

Panel Discussion with Q&A


Jade Ball 2017 at Belo Mansion 

Sat Oct 07 2017

6:00 pm — 11:45 pm

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

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

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


Fall Events Calendar


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



July 10 – December 29, 2017


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


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


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


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


Rodrigo Moura

Exhibition Curator

Meadows Museum Exhibitions and Lectures

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


Picasso/Rivera: Still Life and the Precedence of Form

August 6 – November 5, 2017

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

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

– from D. Rivera, My Art, My Life


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

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

September 17, 2017 – January 7, 2018

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


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

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



Nasher Sculpture Center Events and Speaker Series

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

360 Speaker Series: Panel Discussion

Paper Into Sculpture

October 14, 2017
11 am

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

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


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

Soundings: New Music at the Nasher

Paddle to the Sea (World Premiere)

October 18, 2017
7:30 p.m.

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

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

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

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


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

Tea Ceremony and Tour with Johnny Fogg

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

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

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

$10 for non-Members. FREE for Members.


Nathan Carter and The DRAMASTICS

The DRAMASTICS: A Punk Rock Victory Twister in Texas

Exhibition viewing, film screening and performance.

October 26, 2017

Film screening at 10:30 p.m.

Performance at 11 p.m.

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

360 Speaker Series: Nathan Carter

Exhibition Artist

October 27, 2017
11 am

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

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

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

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

Nathan Carter Biography

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

360 Speaker Series: Tauba Auerbach


November 11, 2017
2 pm

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

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

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

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

A Space Program Film Screening

December 10, 2017

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

A Space Program

A Film by Tom Sachs and Van Neistat


72 minutes runtime

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

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

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

Directed by Van Neistat.

FREE with Admission.
FREE for Nasher Members.


Kimbell Art Museum Exhibitions and Lectures

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



Casanova: The Seduction of Europe

August 27, 2017 to December 31, 2017

Louis I. Kahn Building

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



OCTOBER 13, 6 pm (Friday Evening Lecture Series)

Oysters and Champagne: Dining with Casanova

Meredith Chilton, chief curator, Gardiner Museum, Toronto



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

Painted Ladies in Casanova’s Time

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



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

The Artist’s Eye

Joseph Havel, Houston



NOVEMBER 10, 6 pm (Friday Evening Lecture Series)

Casanova and the Theater of the World

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



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

Ballet, Body Language, and Casanova

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



DECEMBER 8, 6 pm (Friday Evening Lecture Series)

Casanova in Hogarth’s London

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



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

The Artist’s Eye

Etty Horowitz, Fort Worth

Amon Carter Museum of American Art Exhibition and Lectures

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

October 7, 2017–January 7, 2018

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


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

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

The Modern Art Museum of Fort Worth Exhibitions

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

Misty Keasler: Haunt

Sep 23, 2017 – Nov 26, 2017

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

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

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

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

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



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

FOCUS: Katherine Bradford

Nov 04, 2017 – Jan 14, 2018

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

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

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

Exhibition Highlight: JD Miller: Absence of Color

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

Samuel Lynne Galleries Presents 

JD Miller: Absence of Color

October 14, 2017 to November 11, 2017

Opening reception Saturday, October 14th

5:00pm to 8:00pm

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

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

Samuel Lynne Galleries

1105 Dragon Street, Dallas Design District

Dallas 75207

M – S 10:00 am to 5:00 pm

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

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

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

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

Visit their website.



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

Napoli e il Museo e Real Bosco di Capodimonte

in un contesto mondiale  

12-14 Ottobre 2017



Giovedì 12 Ottobre

Museo e Real Bosco di Capodimonte


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

9.45                 Partenza shuttle per il Cellaio



10.00               Caffè di benvenuto

10.30               Saluti introduttivi

                        Sylvain Bellenger (Direttore Museo e Real Bosco Capodimonte)

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

                        Barthélémy Jobert (Presidente Università Paris-Sorbonne)

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

11.00-11.40     Il porto di Napoli nel Mediterraneo

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


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

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

11.40-11.50     Breve introduzione alla storia del Bosco di Capodimonte

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

12.00               Shuttle dal Cellaio verso il Giardino Torre

                         Passeggiata guidata nel Bosco di Capodimonte fino al Giardino Torre

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

12.45-13.45     Pranzo al Giardino Torre

13.45               Ritorno al Cellaio con shuttle

14.00               Caffè

14.15               Inizio lavori

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

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

14.30-15.00    La Chiesa di San Gennaro a Capodimonte

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

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

                         Robin Thomas (Pennsylvania State University)

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

                         Alba Irollo (Bruxelles)

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

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





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

Antimo Cesaro (Mibact, Sottosegretario)

                       Vincenzo de Luca (Regione Campania, Presidente)

                        Luigi De Magistris (Comune di Napoli, Sindaco)


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



Venerdì 13 Ottobre

Museo di Capodimonte




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


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


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

                         their Context

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


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

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


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

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


SALA BURRI/2° piano sezione arte contemporanea


10.45               Caffè


11.00-11.30     L’Arte Contemporanea al Museo di Capodimonte

                        Andrea Viliani (Napoli, Museo MADRE)


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

                        Riccardo Venturi (Parigi, Gerda Henkel Stiftung)




12.00-12.30     Silver: Surface and Substance

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



APPARTAMENTO REALE/Sala 44 /1° piano


15.00-15.30     Foreigners and their Role in the Neapolitan Crêche

                        Carmine Romano (Université Paris-Sorbonne)


GALLERIA FARNESE/Sala 19/1° piano


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

                           and the court of Cardinal Odoardo Farnese

Mary Vaccaro (University of Texas at Arlington)


WUNDERKAMMER/Galleria Farnese/1° piano


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

                         Leah Clark (The Open University)

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

                        Gian Giotto Borrelli (Università degli Studi Suor Orsola Benincasa)

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


Sabato 14 Ottobre

Museo di Capodimonte




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


9.50                 Introduce e coordina Tanja Michalsky (Bibliotheca Hertziana)


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

                           sacro tra committenza, tutela, commercio e musealizzazione

                         Sabina de Cavi (Universidad de Córdoba)




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

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

11.10-11.30     Caffè


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

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

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

Visual Arts)

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


15.00-15.30     Napoli e Cina

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

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

                         Tobias Locker (Universitat Pompeu Fabra, Barcelona)

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

Agnese Pudlis (Royal Castle, Warsaw)

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




17.30               Cocktail di chiusura


Sylvain Bellenger (Direttore Museo e Real Bosco Capodimonte)



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




Report of the Director

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

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



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


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


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


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


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


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


Richard R. Brettell, Ph.D.

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

Greetings from the Assistant Director

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

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

Naples V


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


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


Naples III


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


Naples II


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

Dr. Sarah Kozlowski

Assistant Director

The Edith O’Donnell Institute of Art History

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A New Master’s Program in Art History at the O’Donnell Institute

We are very pleased to announce that the O’Donnell Institute’s new Master’s Program in art history has been approved by the University of Texas System and the State of Texas, and will welcome its first class in Fall 2018.


The Master’s Program in Art History at the O’Donnell Institute introduces students to a global history of art by way of close engagement with artworks held in Dallas-Fort Worth collections. In their coursework and independent research projects, students will draw on privileged access to area collections, outstanding research resources, and the innovative and interdisciplinary research initiatives of O’Donnell Institute scholars to explore a broad range of material across geography, chronology, and medium, and to build a strong foundation in historiography, theory, and professional practices.


The intensive sixteen-month program is designed as a rigorous, immersive experience for the most motivated students, launching graduates directly into top doctoral programs or arts careers. The curriculum comprises two Foundations courses (Practices of Art History and History of Materials and Techniques); five Master’s Seminars that explore a body of material or research question that draws on faculty members’ areas of expertise; and a Practicum in which students design and carry out an original project in the form of a scholarly essay, a small exhibition, a collaboration with a practicing artist, a conservation project, archival research, or a data-driven art history project.


The program will launch in Fall 2018. More information about applying will be available soon. In the meantime, please contact Assistant Director Dr. Sarah Kozlowski (sarah.kozlowski@utdallas.edu) for more information.

Art of Examination Spring 2017 Course at UT Southwestern Medical School

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

Art of Examination students practice close looking at The Warehouse

Art of Examination students practice close looking at The Warehouse


Mindfulness in action in the Art of Examination medical school course

Mindfulness in action in the Art of Examination medical school course

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

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

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


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

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


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

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

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

Lauren LaRocca

Coordinator of Special Programs

The Edith O’Donnell Institute of Art History

The Richard Brettell Award in the Arts Names Peter Walker as First Recipient

Peter Walker

Peter Walker

The Richard Brettell Award in the Arts at UT Dallas, established in 2016 with an endowment from Mrs. Eugene McDermott, recognizes the essential and fundamental role of the arts in the life of the university. The award honors an artist working in or between any of the broad spectrum of artistic endeavors, including the visual arts, music, literature, performance, and architecture/design.


Given every other year, the award consists of a prize of $150,000 and a week’s residence on the UT Dallas campus and in Dallas, during which the awardee will present a major public lecture and interact in a variety of venues with the students, staff and faculty of UT Dallas and with the larger arts community of the Dallas-Fort Worth area. Prospective awardees will be nominated by the Brettell Award Advisory Committee, composed of international leaders in arts and culture, with the selection of the awardee being made by an Executive Committee composed of university and community leaders.


The concept of the Brettell Award is inspired by the Eugene McDermott Award in the Arts at MIT, created by the McDermott Family at the Massachusetts Institute of Technology in 1974. The MIT McDermott Award is also made every other year, and it is planned to schedule the two events in alternating years.


Landscape architect Peter Walker was the first recipient of the Brettell Award. Founder of PWP Landscape Architecture, Walker designed the ongoing campus enhancement at UT Dallas and the Nasher Sculpture Center. His other projects include the National September 11 Memorial in New York, which he designed with Michael Arad.


Events surrounding Peter Walker’s stay in Dallas included talks by the landscape architect on his work designing the UT Dallas promenade and a discussion titled Whither Art History in Dallas? The Arts District or the University of Texas at Dallas Campus? at the Nasher Sculpture Center with Jeremy Strick, Director of the Nasher Sculpture Center; Peter Walker; Gary Cunningham, Founder and President of Cunningham Architects; and Dr. Richard Brettell, the Margaret M. McDermott Distinguished Chair and the Founding Director of the Edith O’Donnell Institute of Art History.



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

More from UTD’s press release.

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

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

Naples, October 12-14, 2017




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

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


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


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


To propose a presentation on a specific artwork or site at the Capodimonte, please submit via email attachment a proposal of under 350 words and a short CV to Elizabeth Ranieri, The Edith O’Donnell Institute of Art History (enr101020@utdallas.edu), by April 24, 2017. Proposals will be reviewed by collaborators at the O’Donnell Institute and the Capodimonte. A certain number of presenters not based in Naples will be offered a small grant to contribute toward the cost of travel.

Sarah Kozlowski: Toward a History of the Trecento Diptych

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

EODIAH Fellows Update

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


Rebecca Becker Daniels


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


Debra J. DeWitte



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


Monica Salazar


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

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

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

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

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

Hartman, Cuban Art History

Gabriel Dawe Named Artist in Residence at Fairmont Dallas Hotel

Gabriel Dawe

Gabriel Dawe


Dallas-based artist Gabriel Dawe has been invited to be Artist-in-Residence at the Fairmont Hotel in Dallas. Established to support the local arts community, the Fairmont’s Artist-in-Residence program provides regional artists with a private studio space and a solo exhibition in the hotel’s contemporary gallery.

Future Artists-in-Residence will be selected by a prestigious panel assembled by Mehl including Melissa Durkee, the registrar from the Nasher Sculpture Center;  Maggie Adler, curator for the Amon Carter Museum in Fort Worth; artist Robert Barsemian; and noted art consultant Gail Sachson along with Mehl.

Originally from Mexico City, Gabriel Dawe creates site-specific installations that explore the connection between fashion and architecture, and how they relate to the human need for shelter in all its shapes and forms. His work is centered in the exploration of textiles, aiming to examine the complicated construction of gender and identity in his native Mexico and attempting to subvert the notions of masculinity and machismo prevalent in the present day.

Dawe’s work has been exhibited in the US, Canada, Belgium, and the UK. After living in Montreal, Canada, for 7 years, he moved to Dallas, where he obtained his MFA at the University of Texas at Dallas. For the final two years of his degree program, he was an artist in residence at UTD’s CentralTrak. His work has been featured in numerous publications around the world, including Sculpture magazine, the cover of the 12th edition of Art Fundamentals published by McGraw-Hill, and in author Tristan Manco’s book Raw + Material = Art. He is represented locally by Conduit Gallery and in Brussels by Lot 10 Gallery. Dawe will be at The Fairmont Dallas through April.

The Fairmont Dallas is located at 1717 N. Akard St., Dallas TX 75201 in the heart of the Dallas Arts District. For more information 214-720-2020 www.fairmont.com/dallas.


Established in 2010, The Fairmont Dallas’ Artist-in-Residence program features local, regional and national artists who reside in the hotel for three months at a time while working in an onsite studio located  on the Lobby Level across from Starbucks. Artwork created throughout the length of the artist’s stay serves various purposes – some is displayed in public areas of the hotel, others illuminate the hotel’s themed Arts District Suite and a number of select pieces benefit various philanthropic efforts.


Reports from the Dallas Museum of Art


Courtesy Dallas Museum of Art

Courtesy Dallas Museum of Art

Viva DMA


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

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

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


Prime Real Estate


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

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

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


On View at The Dallas Museum of Art

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

March 12-July 16, 2017

Tower Gallery and Chilton I

DMA Organized; U.S. Exclusive Venue


Young Masters 2017

Through April 16, 2017



The Keir Collection of Islamic Art Gallery

Opening April 18, 2017

Focus I Gallery


Daumier’s Political and Social Satire

Through April 23, 2017

Level 2

DMA Organized; Exclusively at the DMA


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

Chilton II


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

Chilton II


Waxed: Batik from Java

Through September 10, 2017

Level 3

DMA Organized; Exclusively at the DMA


Shaken, Stirred, Styled: The Art of the Cocktail

Through November 12, 2017

Focus II

DMA Organized; Exclusively at the DMA

Meadows Museum Exhibitions, Events, & Upcoming Lectures

Meadows 2017 Exhibition Between Heaven and Hell


Between Heaven and Hell: The Drawings of Jusepe de Ribera

Mar. 12-Jun. 11, 2017


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

Apr. 2-Jul. 2, 2017



Lecture: Ribera and the Empire of Resemblances

Apr. 20, 6:00 pm

Todd Olson

Meadows Museum


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

Apr. 28, 12:15 pm

Mary Vaccaro

Meadows Museum


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

May. 5, 6:00 pm

Diane Bodart

Meadows Museum


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

Jun. 8-29, 6:00 pm

Nancy Cohen Israel

Meadows Museum