Tag: DMA

Report of the Director

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

Dr. Richard R. Brettell

The fall semester of 2016 has been almost volcanic with activity at the Edith O’Donnell Institute of Art History. We have welcomed a new visiting scholar from the University of Victoria, Professor Allan Antliff, who is in Dallas for the 2016-2017 academic year to work on a new book dealing with contemporary art and anarchist philosophy. Allan and I became friends through our mutual study of Camille Pissarro, whose anarchism is well known, and my students and I have learned a great deal from his imaginative and morally bracing kind of art history. His presence at UT Dallas will result not only in a major book but also in a long-term collaboration with the superb art history faculty at the University of Victoria, a collaboration which will be enriched by the presence on campus of Dr. Melia Belli-Bose of the University of Victoria in the spring term of 2017.

Most recently we co-organized with the Ackerman Center a symposium on the School of London, the post-WWII painters of Britain that included Freud, Bacon, Kossoff, Auerbach, Andrews, and Kitaj. The symposium coincided with a major exhibition of the group at the Getty. We have also planned a symposium with our colleagues at the Crow Collection of Asian Art devoted to the global ceramics trade centered in seventeenth- and eighteenth-century Puebla, Mexico. The markets of Puebla linked the Islamic ceramic tradition via Spain with the Chinese tradition via the Mexican-ruled Phillipines and the Manila galleons.

Our goal of making our DMA headquarters a “Living Room” for art historians in Dallas-Fort Worth continues to advance, and later this month we will welcome as many of our metroplex colleagues as possible to meet the DMA’s new director, Agustín Arteaga. Our schedule of workshops masterminded by Lauren LaRocca continues apace, involving O’Donnell Institute scholars and fellows as well as distinguished guests.

This fall, we have also had a good many distinguished visitors to the Institute’s UT Dallas home, including Mr. and Mrs. O’Donnell, UT Dallas’s new President, Dr. Richard Benson, and the French Ambassador, Gérard Araud.

French Ambassador Gérard Araud (middle) and Consul General of France Sujiro Seam (right) visit EODIAH

French Ambassador Gérard Araud (middle) and Consul General of France Sujiro Seam (right) visit EODIAH

 

For me, the semester is filled with preparations for the lectures in what might well be the largest course in UT Dallas’s history, Introduction to the Visual Arts, taught to an eager group of almost 350 undergraduates in the lecture hall of the Edith O’Donnell Arts and Technology building. Using works of art in Dallas-Fort Worth museums as portals onto other places and other times, I endeavor to excite UT Dallas’s supremely intelligent undergraduates, the vast majority of whom major in sciences, technology, management, or social sciences, to pause and think about human history and its artistic and architectural heritage.

We have also progressed this term in our partnerships with the Wildenstein Institute in Paris, the Capodimonte Museum in Naples, the Swiss Institute of Art History in Zurich, the University of Victoria, and, soon, a new Institute for the Study of American Art at the University of Nanjing in China.

Not bad for a little more than two years.

 

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

As we welcome the arrival of autumn in Texas, the O’Donnell Institute is already hard at work bringing together two major symposia for the spring semester. 

The first is presented in collaboration with the Crow Collection of Asian Art on the occasion of the exhibition Clay Between Two Seas: From the Abbasid Court to Puebla de Los Angeles. The exhibition traces the journey of ceramic technology from China to the Islamic world to the Americas, and the development of Talavera pottery in baroque Puebla. The symposium will bring together important scholars of Asian, Islamic, and New World ceramics for a day of lectures and gallery conversations. Save the date: Saturday, January 14, 2017. 

 

Jar with Chinese double curved handles, Puebla de los Angeles, New Spain, 17th century, tin glaze earthenware with cobalt blue on white glaze, Museo Franz Mayer

Jar with Chinese double curved handles, Puebla de los Angeles, New Spain, 17th century, tin glaze earthenware with cobalt blue on white glaze, Museo Franz Mayer

 

In February, with the participation of the Dallas Museum of Art and the Nasher Sculpture Center, we will present Artists’ Writings on Materials and Techniques. The symposium brings together art historians, curators, and conservators to explore a broad range of artists’ writings on working practices and to address the complicated relationship between artists’ visual and textual work. In lectures and roundtable conversations, participants will also discuss how these writings inform our own work as scholars, curators, and conservators. Two keynotes will be given by our distinguished guests Dr. James Meyer (DIA) and Dr. Michael Cole (Columbia), and we are also honored to welcome Carol Mancusi-Ungaro (The Whitney) as a contributor to a roundtable conversation. Save the date: Friday-Saturday, February 24-25, 2017, and RSVP via our Programs page here.

On the horizon: we are in the very early stages of planning our next major symposium for fall 2017 or spring 2018 on the topic of The Artists Workshop as a Site of Collaboration 1300-1700. More details to follow soon! In the meantime, we look forward to welcoming you at our upcoming workshop talks and gatherings.

Michelangelo Buonarotti, Manuscript of Sonnet 5 with self-portrait, c. 1509–1510, Biblioteca Medicea Laurenziana, Florence

Michelangelo Buonarotti, Manuscript of Sonnet 5 with self-portrait, c. 1509–1510, Biblioteca Medicea Laurenziana, Florence

 

Dr. Sarah K. Kozlowski

Assistant Director

The Edith O’Donnell Institute of Art History

Dallas Becomes a Major Center for Islamic Art

Dr. Sabiha Al Khemir Distinguished Scholar of Islamic Art at UTD and Senior Advisor for Islamic art at the DMA

Dr. Sabiha Al Khemir Distinguished Scholar of Islamic Art at UTD and Senior Advisor for Islamic Art at the DMA

Four years ago, when I was appointed the Dallas Museum of Art’s Senior Advisor for Islamic Art, a caring colleague in Europe remarked: ‘But there is no Islamic art in Dallas!’ Thanks to the visionary institutional leadership in Dallas that reality has changed with impressive speed, and is growing ripples.

Dr. Brettell saw the significance of introducing the teaching of Islamic art at the O’Donnell Institute, and the first graduate course took place last year. This teaching experience was made all the more rewarding for me thanks to a very inspired and sharp group of students. The course brought an emphasis to the importance of cultural context and examined our ways of looking. It provided an in-depth introduction to the subject of Islamic art, highlighting its unity and diversity from Spain to South East Asia. Last year we discussed some of the main aspects of Islamic art, such as calligraphy and figural representation. The next Spring semester of 2017, the course will concentrate on distinctive styles and iconic representations of Islamic art, highlighting new topics such as technical innovations and cross cultural influences.

The course focuses on the art of the object, examining works in different mediums, produced over many centuries, especially during the Medieval period. It makes extensive use of the Keir Collection at the DMA. The Keir Collection constitutes a major resource of the material culture of the Islamic world, spanning three continents and thirteen centuries. It is a considerable benefit for the course as it enables students to examine physical objects of art. The Keir Collection, assembled over the course of five decades, is one of the most geographically and historically comprehensive of its kind, encompassing almost two thousand works—from works on paper to rock crystal, to ceramics, metalwork, carpets and textiles. The arrival of the Keir Collection at the DMA transforms Dallas into the third largest repository of Islamic art in the United States.

Next term we welcome Dr. Melia Belli-Bose, visiting from the University of Victoria. She will teach here at UT Dallas and I am excited that she will contribute to the graduate course, bringing her extensive research experience and fresh insights.

A library of Islamic art – which belonged to the scholar Dr. Oliver Watson, the IM Pei Professor of Islamic art and architecture at Oxford University – has been acquired by the EODIAH and is on its way from the United Kingdom to Dallas. It will be housed in the O’Donnell Institute space at the DMA. The library holds eleven hundred volumes and includes standard reference books as well as rare runs of journals, and a number of substantial works especially on ceramics, architecture and painting. The library will be a significant foundation for research, supporting the Keir Collection and the study of Islamic art.

Next April, the first space dedicated to Islamic art will be inaugurated at the DMA. The Keir Collection will be presented in a new purpose-designed gallery space off the Museum’s Concourse. The new long term installation will present over a hundred pieces from the collection, many of which were never shown before, while retaining some of the masterworks from last year’s exhibition Spirit and Matter, such as the celebrated Fatimid rock crystal ewer, one of only seven in the world of its caliber and the only one of its type in the United States. Over the years, the gallery will offer a rotation of pieces, especially works on paper and textiles.

A taste of what’s to come in the gallery will be revealed at the beginning of the Spring semester when we display a number of works from the Keir Collection in the EODIAH vitrine at the DMA. The theme will be luster-painting on ceramics, which is an important innovation of the Islamic world. The complex technique of luster and its alchemy (where metal oxides produce the effect of iridescence) illustrates the connection between science and art, and the transfer of knowledge from East to West.

 

Large bowl, ceramic, with luster-painted decoration, Iraq or Egypt, 10th century. The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.220

Large bowl, ceramic, with luster-painted decoration, Iraq or Egypt, 10th century.
The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.220

 

I love the vitrine itself – ingeniously designed by Buchanan Architecture to physically connect the DMA and the Institute space: one can look at the display from the inside and from the outside. The vitrine physically and conceptually reflects institutional collaboration. In a way, it mirrors the dynamic of art history’s perspective: our very imperative in the Islamic art course, to look from within and from without, to look at the object, at the world within it, at the cultural context that produced it and its way of seeing the world.

The Islamic art initiative is an exciting venture with many ripples to come. The momentum for Islamic art in Dallas at present is a window into a historical step in the trajectory of Islamic art, which, in itself, is no less than a leap in the canon of art history and of fostering cross-cultural understanding.

Dr. Sabiha Al Khemir

Distinguished Scholar of Islamic Art at UT Dallas and Senior Advisor for Islamic Art at the DMA

Reports from the Dallas Museum of Art

DMA_Logo_Print_CMYK_2Color

 

Image credit: © Carnegie Museum of Art, Pittsburgh. Photo Bryan Conley

© Carnegie Museum of Art, Pittsburgh. Photo Bryan Conley

Curatorial Growth

This January, the DMA will welcome Dr. Anna Katherine Brodbeck as the new Nancy and Tim Hanley Assistant Curator of Contemporary Art at the Dallas Museum of Art. Brodeck will join the Museum from the Carnegie Museum of Art, in Pittsburgh, PA, where she has worked since 2013 as an Associate Curator, serving as the coordinator between the Carnegie Museum of Art, the Art Institute of Chicago, and the Whitney Museum of American Art on the organization of the first comprehensive US retrospective of the influential Brazilian artist Hélio Oiticica. A Ph.D. in art history, Brodbeck brings to the DMA an extensive knowledge of modern and contemporary art and will work closely with Gavin Delahunty, the Museum’s Hoffman Family Senior Curator of Contemporary Art on the Concentrations series, focused on international emerging artists and also on strengthening relationships with local artists.

 

DMA ALL Rothschild © Harry Cory Wright

© Harry Cory Wright

Open Book

The DMA is quickly wrapping up their 25th anniversary season of the Museum’s literary and performing art series, Arts & Letters Live. On November 15, Dr. Nicole R. Myers, The Lillian and James H. Clark Curator of Painting and Sculpture, DMA, will lead a tour of the Museum’s 18th-Century French art tied to author Hannah Rothschild’s appearance that same evening. The first woman chair of the National Gallery in London and a trustee of the Tate Gallery, Hannah Rothschild has been part of the art world for her entire life. Her family has an extensive collection, and she made several films about the art world, among other subjects, during a long career as a documentary filmmaker with the BBC. She will be discussing her debut novel, The Improbability of Love, which takes the reader behind the scenes of a London auction house, into the secret operations of a powerful art dealer, to a flamboyant 18th-century-style dinner party, and more.

 

Martini glass, c. 2001, Valeri Timofeev, designer, silver gilt, plique-à-jour enamel, enamel, unidentified hardstone, Dallas Museum of Art, Discretionary Decorative Arts Fund, 2014.21

Martini glass, c. 2001, Valeri Timofeev, designer, silver gilt, plique-à-jour enamel, enamel, unidentified hardstone, Dallas Museum of Art, Discretionary Decorative Arts Fund, 2014.21

Toast of the Town

November marks the opening of the DMA’s focus exhibition Shaken, Stirred, Styled: The Art of the Cocktail. The exhibition features nearly sixty works predominantly from the DMA’s extensive design holdings, many of which are on view for the first time, and explores the culture of cocktails and the wares in which they were prepared and served. The exhibition follows the development of the modern cocktail from the late 19th century to the present day, tracing the stylistic reflections of the rituals of the cocktail’s concoction, presentation, and consumption through metalware, glassware, and ceramics. Featuring a range of objects, many of which are on view for the first time, Shaken, Stirred, Styled includes 19th-century punch bowls, early 20th-century liquor decanters and glasses, Prohibition-era cocktail shakers, and Art Deco and modern barware.

Image credit: Martini glass, c. 2001, Valeri Timofeev, designer, silver gilt, plique-à-jour enamel, enamel, unidentified hardstone, Dallas Museum of Art, Discretionary Decorative Arts Fund, 2014.21

 

On View, Lectures, and Other Events at the DMA This Fall/Winter

Special Event: Fashion Plates: 150 Years of Style

Thursday, November 3, 7:00 p.m.

Join April Calahan, fashion historian and Special Collections Associate at Fashion Institute of Technology, for a closer look at her book Fashion Plates: 150 Years of Style. Calahan will discuss the evolution of men’s and women’s styles through the art of the fashion plate–lavish, hand-colored illustrations created to promote the latest modes.

details

 

Brettell Lecture: Variation, Seriation, Decoration: Van Gogh’s “Sheaves of Wheat”

Thursday, November 10, 7:00 p.m.

Join Dr. Nicole R. Myers, The Lillian and James H. Clark Curator of European Painting and Sculpture, for an in-depth exploration of Vincent van Gogh’s Sheaves of Wheat. 

details

 

Nicolas Party: Pathway

Through 2/5/17

Concourse

Swiss artist Nicolas Party will create a site-specific commissioned mural in the DMA’s Concourse Gallery. For this installation, the first solo US museum presentation for the artist, Party will make an all-over mural on the walls and ceiling of the Museum’s main central corridor.

details

 

Concentrations 60: Lucie Stahl

9/16/16 to 3/12/17

Hoffman Galleries

For Concentrations 60: Lucie Stahl, the artist’s first U.S. solo museum show, Stahl will present both old and new work in an immersive installation that will feature a number of her “Prayer Wheels”.

details

 

Waxed: Batik from Java

9/25/16 to 9/10/17

Level 3

Drawn from the DMA’s collection, Waxed: Batik from Java presents a selection of Javanese batik made in the West and Central regions, the main batik production was centered during the 19th and early 20th centuries. Batik is a wax-resist process for dye-decorating cloth. In Indonesia, batik is especially associated with the island of Java.

DMA-organized; exclusively at the DMA.

details

 

Divine Felines: Cats of Ancient Egypt

10/9/16 to 1/8/17

Chilton I Gallery

Divine Felines: Cats of Ancient Egypt features cats and lions in ancient Egyptian mythology, kingship, and everyday life through diverse representations from the world-famous holdings of the Brooklyn Museum.

details

 

Figurine of a Standing Lion-Headed Goddess, Faience, Brooklyn Museum. Charles Edwin Wilbour Fund, 37.943E

Figurine of a Standing Lion-Headed Goddess, Faience, Brooklyn Museum. Charles Edwin Wilbour Fund, 37.943E

 

Walter De Maria: Counterpoint

10/19/16 to 1/22/17

Barrel Vault and Hanley, Lamont, Rachofsky, and Stoffel Galleries

Walter De Maria: Counterpoint is the first presentation in three decades of Walter De Maria’s 1986 work Large Rod Series: Circle/Rectangle, 5, 7, 9, 11, 13.

details

 

Shaken, Stirred, Styled: The Art of the Cocktail

November 18, 2016-November 12, 2017

Focus II

DMA Organized; Exclusively at the DMA

 

Art and Nature in the Middle Ages

December 4, 2016-March 19, 2017

Chilton II

U.S. Exclusive Venue

 

The Wittgenstein Vitrine

Through 5/28/17

Conservation Gallery

Modern Opulence in Vienna: The Wittgenstein Vitrine reveals the results of an intensive research and conservation program by exploring the conservation effort and charting the context and history of this masterwork’s design and fabrication, iconography, and provenance. The exhibition also presents new perspectives on designer Carl Otto Czeschka, his work for the Wiener Werkstätte, and the important patronage of the Wittgenstein family.

details

 

Passages in Modern Art: 1946 – 1996

3/13/16 to 5/28/17

Barrel Vault and Hanley, Lamont, Rachofsky, and Stoffel Galleries

Passages in Modern Art: 1946–1996 brings together objects from the DMA’s acclaimed contemporary collection, including recent acquisitions, rarely seen works, and newly conserved paintings and sculpture.

details

Report of the Director

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

Dr. Richard R. Brettell

In the land of art history, summer was the time to travel to research sites and work on projects before the busy fall at the O’Donnell Institute. EODIAH’s faculty, fellows, and graduate students have done just that as we continue to make an impact on art history throughout the country and the world. Two of our fellows, James Rodriguez and Kristine Larison, have been launched into the world, bringing news of EODIAH to their new homes in Indiana and Pennsylvania. Fellow Fabienne Ruppen from the University of Zürich visited museums and collections in the U.S. and Europe and spent time with her family in the Swiss Alps before returning to Dallas refreshed and ready to tackle her dissertation on Cézanne’s drawings. And Fellow Paul Galvez spent the summer in Princeton with trips to New England and California museums in his quest to finish his book on Gustave Courbet’s landscapes.

Our biggest achiever since our last newsletter was UT Dallas Distinguished Scholar in Residence Bonnie Pitman, who worked with EODIAH and DMA colleagues to create a pathbreaking conference at the Museum of Modern Art in New York. Its focus was on partnerships between art museums and medical schools to cultivate the art of observation in medical students and physicians. By all accounts it was a great success. Congratulations, Bonnie–we await the story in the New York Times!

Assistant Director Dr. Sarah Kozlowski and I worked hard to further two of the Institute’s international partnerships. Sarah made an important trip to Naples to meet with our partner, Dr. Sylvain Bellenger, Director of the Capodimonte Museum in that extraordinary city and to make headway on a multi-year project of collaboration between EODIAH, the Museum in Naples, and the Sorbonne in Paris. She reveals more below. I had a bracing tour of our new Swiss partner’s headquarters, The Swiss Institute for Art Research (www.sik-isea.ch/en-us). Located in a stunningly restored and expanded villa in the hills above Zürich, the Swiss Institute is the most important place globally for advanced research on Swiss Art.

Giacometti plasters in the Kunsthaus Zürich

Giacometti plasters in the Kunsthaus Zürich

Our ATEC-EODIAH faculty member Dr. Max Schich had a summer of global travel in his quest to make UT Dallas a world center for large data art history. He also is working on a promising partnership with the Zentralinstitut für Kunstgeschichte in Munich, whose former Director Dr. Wolf Tegethoff spoke at our founding. Under Max’s leadership we will see a steady stream of visitors from Munich to Dallas in the 2016-2017 academic year.

In one year, we have established alliances with important museums and institutes in three European cities. These are multi-year commitments that will insure that EODIAH has an important foothold in the places where our discipline was born.

This fall we welcome the return of Drs. Mark Rosen and Charissa Terranova, who each had academic leaves in 2015-2016 and are returning to the fold refreshed by a solid year of research. Each of their reports is below. While they were away, we constructed exciting new offices for these important scholars in the EODIAH complex at UT Dallas so that they can say farewell to their old offices in the Jonsson Building and come to be with us. This fall, we will ALL be together in the ATEC Building for the first time since our founding two years ago. We thank the new Dean of ATEC, Dr. Anne Balsamo, for allowing the Institute’s expansion in her wonderful building.

One of our most important accomplishments this past year has been to dramatically increase the Institute’s collection of scholarly books about art. This effort was begun at our founding with the gift of New York and London auction catalogues by the New York collectors Mr. and Mrs. Ivan Phillips. This gift has truly started an avalanche of books from institutional and private donors. The first was a complete set of contemporary auction catalogues from the Museum of Modern Art in New York, and this was followed by the American auction catalogues and private library of the late Perry Rathbone, the distinguished museum administrator and scholar who recently died at his home in Connecticut. From this followed the gift of substantial parts of the art libraries of S. Roger Horchow and the late Nash Flores, each important collectors of art books in areas not covered seriously at UT Dallas. All of this material was capably catalogued and organized on our Cunningham-designed book shelves by students from The Greenhill School. We have also just acquired a private library devoted to Islamic art formed by Dr. Oliver Watson, the I.M. Pei Professor of Islamic Art and Architecture at Oxford. This library will support ongoing study and research focused on the Keir Collection at the DMA.

About one 20th of the Comini library

About one 20th of the Comini library

And, if all of this was not enough, an Institute mailing that featured photographs of our book-lined offices so inspired the great art historian Dr. Alessandra Comini, Professor Emerita at SMU, that she has decided to bequeath her extraordinary library devoted to German, Austrian, and Scandinavian art as well as art produced by women artists to the Institute. When Sarah Kozlowski and I went with Alessandra through this private library, which approaches 30,000 volumes, we were in complete awe. The Comini library will be the largest gift of scholarly books in UT Dallas’s history.

This fall, our wonderful new staff member Lauren LaRocca is going to bring EODIAH-DMA alive. Lauren is curating an exhibition of Carolyn Brown’s architectural photographs of the Mexican Baroque city of Puebla and made possible a joint installation of global works of art in the DMA’s collection that use trade beads, the latter co-curated by the DMA’s superb Dr. Roslyn A. Walker, Senior Curator of the Arts of Africa, the Americas, and the Pacific and The Margaret McDermott Curator of African Art, and myself. Both installations will open this fall. Lauren has also worked with us and the DMA to create an incredible fall lineup of programs for the Institute at both the DMA and UT Dallas. And she worked with the DMA so that its new mobile app was conceived and worked through in EODIAH’s research center.

The DMA is our full partner, and it is exciting that we will do so much more in the Museum this year than we did in the months after the opening of our wonderful mirror-ceilinged space. We eagerly await the DMA’s new Director, Augustín Arteaga, so that we can work together even more. And we thank the departing Olivier Meslay for working so well with us thus far.

In the short two-year period since the Institute was founded, we have tried to become THE place for art history in North Texas and to make a global footprint as well. This next year will be devoted to hiring another O’Donnell Chair and to launching our Master’s Program in Art History. As we move forward, we are sprinting, not walking! What has made me the happiest is the number of individual donors who have decided to join us on our race toward excellence. Our wonderful Director of Development, Lucy Buchanan, will tell you all about our new friends!

 

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

Thanks to all of you who joined us on September 2 at The Wilcox Space to celebrate the beginning of the 2016-2017 academic year, and the close of the two-part installation John Wilcox: Diptychs and Polyptychs. Stay tuned for news of the next installation, which will open in mid-Fall.

This Fall we are pleased to welcome four new O’Donnell Fellows to the Institute, where they will pursue research on topics from Cuba to Ethiopia. Leslie Reid is a UT Dallas doctoral candidate completing a dissertation entitled Abu Dhabi, Dallas, Denver, Los Angeles, and Shigaraki: A Comparative Analysis of the Modernist Architecture of Five Universal Art Museums. Evan (Poe) Johnson, also a doctoral student at UT Dallas, will join us as he completes his dissertation, The Fandom of Lynching and the Remediated Black Body. Joseph Hartman comes to us from Southern Methodist University and is in the final stages of his dissertation, Modern Dreams: Image, Space, and Politics in Machado’s Cuba, 1925-1933. And Jacopo Gnisci, who just completed his PhD at the School of Oriental and African Studies at the University of London, will be in residence to work on the Dallas Museum of Art’s collection of Ethiopian crosses and to continue his research on fifteenth-century icon painting in Ethiopia.

We have a full slate of programs for the coming semester, which Lauren LaRocca highlights in her noteWith Lauren’s leadership we continue to develop our partnership with the DMA and with other area institutions including the Crow Collection of Asian Art, with whom we will present a symposium in January in conjunction with the exhibition Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles. We are also happy to collaborate with the DMA Conservation Studio and the Nasher Sculpture Center to present a symposium in February called Artists’ Writings on Materials and Techniques. We will welcome James Meyer from DIA and Michael Cole from Columbia as keynote speakers. As these programs demonstrate, one of our goals at the O’Donnell Institute is to foster collaborations between the academy and the museum, and to create a space for generative dialogue among academics, curators, conservators, and conservation scientists.

It’s just those kinds of dialogues that will unfold every Friday afternoon this Fall in my graduate seminar, The Material Lives of Artworks. Based at the DMA and at collections throughout Dallas and Fort Worth, the seminar will explore the history of artistic materials and techniques and the broader question of how materials and the act of making create meaning. Each seminar meeting will focus on a single medium (silver, ceramic, or paint, for example), and will combine close visual and physical analysis of artworks, conversations with scholars, curators, and conservators, and readings in both artists’ writings and recent art historical literature.

In July I traveled to Naples, where Sylvain Bellenger, Director of the Museo di Capodimonte and I continued our work on plans to launch a collaboration dedicated to incubating and communicating innovative research on the history of art in Naples, with particular focus on the cultural histories of port cities and the mobilities of artworks. While centered on Naples, our work will inform understanding of port cities and cultural centers throughout the world, from antiquity to the present. The Capodimonte/O’Donnell Institute collaboration will take the form of two programs: Workshops and Research Residencies. In an annual spring Workshop or Laboratorio, the O’Donnell Institute and the Capodimonte will convene an international group of scholars in Naples for two days of site- and collection-based presentations and roundtable discussions on a chosen theme. In our Research Residency program, advanced graduate students and early-career scholars will pursue research in residence at the Capodimonte on projects related to Naples and the cultural history of port cities. Our long-term vision is to expand the collaboration by inviting other institutions to sponsor Workshops and Residencies that will support the work of scholars from around the world in Naples. The Université Paris-Sorbonne, the Soprintendenza di Genova, and the Soprintendenza di Pompeii have already expressed interest in participating in the project. Our goal is to open the Capodimonte and the city of Naples to an international scholarly community, making the city a laboratory for creativity and collaboration. Sylvain, Rick and I all look forward to sharing news of the project with colleagues and friends of the Institute in the coming months.

As the slower pace of the Summer months set in, I had the chance to immerse myself in a new project on diptychs in fourteenth-century Naples. The project brings together for the first time a small but significant corpus of diptychs commissioned and collected at the Angevin court, with particular focus on how these mobile artworks fit into a whole network of artists, patrons, and objects in motion throughout the Mediterranean.

It’s with great anticipation that I look ahead to the coming year and to welcoming you to our many Fall programs and gatherings, which you will find on our website: utdallas.edu/arthistory/programs. Join us!

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

Report from the EODIAH Research Center

Paul Cézanne, Still Life with Apples on a Sideboard, 1900–1906, Dallas Museum of Art

Paul Cézanne, Still Life with Apples on a Sideboard, 1900–1906, Dallas Museum of Art

We are excited to offer a full slate of programs for the coming semester. Fall workshops by guest speakers include the newly appointed curators at the Crow Collection of Asian Art, Dr. Jacqueline Chao and Dr. Qing Chang; Dr. Davide Gasparotto, Senior Curator of Paintings at the Getty; and Dr. Julian Henderson, Professor and Chair of Archaeology at the University of Nottingham.  As a testament to the richness of local scholarship, a number of workshops will be given by UT Dallas and UT Arlington affiliates including Dr. Roger Malina, Dr. Mary Vaccaro, and Dr. David McPhail in his new conservation lab at the UTD Bioengineering and Science Building. Our very own fellow, Fabienne Ruppen, will lead a discussion on Cezanne’s Still Life with Apples on a Sideboard in the DMA study room.

In September, fellows have the special opportunity to tour the contemporary art collection and library of art curator and collector Charles Dee Mitchell. October promises a lively conversation between Dr. Brettell and Dr. Alessandra Comini to discuss the making of cultural capitals as illustrated by Paris and Vienna. The semester will culminate with an enlivening lecture in late November by Dr. Phillipe de Montebello followed by our annual EODIAH dinner.

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

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

The Research Center will host two new exhibitions this fall; both explore the global trade of ideas and materials.  Carolyn Brown’s photography captures the innovative brilliance of Talavera tiled churches in Puebla, Mexico. I curated the installation in conjunction with the Crow Collection’s special exhibition Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles. Our second vitrine installation, a collaborative effort between Dr. Brettell and DMA Curator Dr. Roslyn Walker, showcases the museum’s vast collections of beaded objects.  The international trade of artworks like beads introduced a vivacity of color and design into works of art.

Finally, we’re thrilled to announce that DMA Curator Dr. Anne Bromberg will teach a UT Dallas graduate seminar at the Research Center in Spring 2017 on Indian Art. Dr. Bromberg will use the superb collections at the DMA, much of which has been acquired under her leadership. This is a unique opportunity for students to study with one of the foremost scholars of Indian Art.

Our institutional partnership with the DMA continues to thrive and develop in new ways.  We hope you’ll join us this fall for our many exciting programs!

 

Lauren LaRocca
Coordinator of Special Programs
The Edith O’Donnell Institute of Art History

EODIAH’s 3rd Anniversary in November

November 29, 2016, 5:30 PM

Please SAVE THE DATE of November 29 to celebrate the third anniversary of the Edith O’Donnell Institute of Art History at The University of Texas at Dallas. We invite you to join us at the Dallas Museum of Art for a reception followed by a 5:30 lecture entitled “From the Museum to the Academy without Losing Sight of Art” by our honored guest Philippe de Montebello, Professor in the History and Culture of Museums at New York University’s Institute of Fine Arts and former Director of the Metropolitan Museum of Art.

By invitation; RSVPs are required as seating is limited.

Please call or e-mail Pierrette Lacour with any questions.

Meet the New EODIAH Fall 2016 Graduate Fellows

This Fall we welcome to the O’Donnell Institute four new fellows. Their project abstracts are below—please join us in welcoming them into the fold!
Jacopo Gnisci
Visiting Research Fellow, August 2017-February 2017
PhD, University of London/SOAS

Art and Faith: Panel Painting in Fifteenth-Century Ethiopia and the Ethiopian Cross Collection of the Dallas Museum of Art

This research project has a two-fold purpose. On the one hand, it aims to improve our understanding of the history of panel painting in fifteenth-century Ethiopia by reassessing the available evidence in light of a small corpus of newly-discovered or unpublished works from this period. More specifically, it will demonstrate that a small group of icons are the work of a hitherto unidentified artist whom I refer to as “the Master of the Scale Pattern.” On the other hand, it will examine the extensive collection of Ethiopian crosses of the Dallas Museum of Art with the aim of assigning a more precise date to each example.
 

Joseph Hartman
Visting Research Fellow, Fall 2016-Spring 2017
Doctoral Candidate, Southern Methodist University
Modern Dreams: Image, Space, and Politics in Machado’s Cuba, 1925-1933

This dissertation examines the public works program of Cuba’s infamous President-then-Dictator Gerardo Machado, 1925-1933. Machado’s unprecedented building campaign included a U.S.-style Capitol building; a 700-mile highway; French-designed parks in Havana; and a state-of-the-art penitentiary. These monumental works served as tropes in the regime’s reformist agenda. These spaces spoke to a broader nationalist dream of sovereignty in the face of U.S. hegemony. Eight years after his inauguration, however, Machado was deposed for corruption and the bloody repression of Cuba’s citizenry. These works were his last defense. “In regard to my presidency,” Machado bristled, “save your words and ink. The stone and marble speak for me and mine.”

But what do these works really have to say about republican Cuba under Machado? Machado’s public works, this dissertation argues, articulated a highly nuanced politics of space, vision, and cultural experience.  Machado’s prisons, palaces, and parks soon defined the urban and rural landscapes of Cuba.  Their likeness was reproduced, disseminated, and refracted in photographs in newspapers, magazines, and tourist brochures. Machado’s works emerged in dialogue with histories of Pan-Americanism, U.S. imperialism, and continental modernism. These spaces and their representations mobilized multiple geographies and temporalities that were quickly woven into the cultural politics of twentieth-century Cuba and the wider hemisphere. The regime’s U.S. and French-style monuments were a dream of a dream, a copy of a copy. But they were also a Cuban dream; a dream in which context ultimately quells any aesthetic debates surrounding the ambivalent status of model and copy, real and imagined.

 

Evan Johnson
Edith O’Donnell Graduate Fellow, Fall 2016-Spring 2017
Doctoral candidate, The University of Texas at Dallas
The Fandom of Lynching and the Remediated Black Body

From its earliest visual inceptions in American media through nineteenth century blackface minstrelsy performances and photography, images of the black body have been delineated into two separate categories that attempt to distinguish respectable behavior of black people from the deviant.  As such, black bodily performance is, at least in part, a mediated object. Cultural notions surrounding visual mediated objects are not solely the creation of artists for consumer consumption, but constructs devised within a recursive system of give and take between creators and spectators. The artistic and discursive content produced by spectators is what we now call fandom. This dissertation argues that cultural reception toward the black body inspired a fandom that had a significant impact on the history of media representation and the ongoing oppression of black people.

This dissertation examines images of the mediated black body from its earliest representations to its contemporary position as a fundamental unit of grammar within digital culture (Internet memes, Black Twitter, etc.). Further, I employ critical race theory, digital culture theory, Afro-Pessimism, and theories of fan scholarship, to argue that visual media representations of blackness have been used to discipline misbehaving black bodies in a fashion that mirrors another cultural practice that systematized the lack of black agency post-emancipation: lynching. Lynching culture has physical, textual, and imagistic manifestations; each of which, I argue, are fandoms in their own right. This dissertation reveals that much of the internal logic associated with participatory contemporary media consumption originates in lynching culture.

 

Leslie Reid
Edith O’Donnell Graduate Fellow, Fall 2016-Spring 2017
Doctoral candidate, The University of Texas at Dallas
Abu Dhabi, Dallas, Denver, Los Angeles, and Shigaraki: A Comparative Analysis of the Modernist Architecture of Five Universal Art Museums


Rooted in the late 18th and 19th century idea of the museum as a “library of past civilizations,” the universal or encyclopedic museum attempts to cover as much of the history of mankind through “art” as possible. The prototypes for this kind of museum are the Louvre, the British Museum, the Hermitage, and the Metropolitan Museum, which are enormous in scale and cover millennia of global cultural production.

This dissertation will examine this model of the inclusive art museum—essentially unbounded chronologically and geographically—and study its transformation in newer institutions less tied to national ideologies by analyzing five museums on three continents in buildings designed by six architects between 1971 and the present.  
Three of these institutions in buildings by Gio Ponti and Daniel Liebeskind (Denver), Edward Larrabee Barnes (Dallas), and Peter Zumthor (LA, the latter in construction) were selected because each was planned after the museum had already decided to be “universal” and had selected an architect to design a building that would embody that universality in “modern” terms. None of these American urban museums have “national” agendas, and their buildings are NOT rooted in the neo-classical or neo-baroque tradition of the universal museum– thus linking “universality” with “modernity.”

They will be contrasted with two museums in parts of the world in which the universal art museum is a “European” implant—Abu Dhabi and Shigaraki. One, a “branch” of the first great universal museum—the Louvre—is situated in a massive building by the French architect Jean Nouvel. The other, a private “universal” museum in Japan, is rooted in the archeological prototype of the British Museum and is housed in a purpose built building by the Chinese -American Architect, I. M. Pei.

Reports from the Dallas Museum of Art

DMA_Logo_Print_CMYK_2Color

Photo credit Paloma Torres

Photo credit Paloma Torres

Welcome Agustín Arteaga

In July, the DMA announced the exciting appointment of the Museum’s new Eugene McDermott Director, Agustín Arteaga. Arteaga, who officially joined the Museum in September, most recently served as director at the Museo Nacional de Arte (MUNAL) in Mexico City, one of Mexico’s largest and most prominent cultural institutions, presenting work from the mid-16th through the mid-20th centuries. Prior to his tenure at MUNAL, Arteaga was the director of the Museo de Arte de Ponce (MAP) in Puerto Rico and the founding director of the contemporary art museum Museo de Arte Latinoamericano de Buenos Aires (MALBA) Fundación Costantini in Argentina. Arteaga has organized more than one hundred exhibitions over the course of his career, including major monographic presentations of Andy Warhol, Roy Lichtenstein, and Diego Rivera; survey exhibitions of French Impressionism and old master works; and thematic exhibitions that have stretched across centuries and cultures. Born in Mexico City, Arteaga received an MA (1999) and PhD (2006) from Universidad Nacional Autonoma de Mexico (UNAM) and a BS in architecture (1980) from Universidad Autonoma Metropolitana, both in Mexico City.

Diviners headdress (nkaka), Tabwa peoples, mid–20th century, Democratic Republic of the Congo, Africa, leather, fiber, beads, and feathers, Dallas Museum of Art, gift of The Cecil and Ida Green Foundation 1999.62

Diviners headdress (nkaka), Tabwa peoples, mid–20th century, Democratic Republic of the Congo, Africa, leather, fiber, beads, and feathers, Dallas Museum of Art, gift of The Cecil and Ida Green Foundation 1999.62

Bead It

Dr. Richard Brettell and Dr. Roslyn A. Walker, the DMA’s Senior Curator of the Arts of Africa, the Americas, and the Pacific and The Margaret McDermott Curator of African Art, with assistance from her colleague Dr. Kimberly Jones, The Ellen and Harry S. Parker III Assistant Curator of the Arts of the Americas, collaborated on the art installation in the Institute’s DMA Research Center vitrine. The idea for the installation stems from the extraordinary gift by Dallas jewelry designer Velma Davis Dozier (1901–1988) of thousands of trade beads to the Museum. The beads have their origins in Europe but were traded in Africa, the Americas, Asia, and the Pacific. The historic objects on view convey the geographic breadth of such “trade beads,” along with the continued abundance of commercial beads today. The beaded objects from the DMA’s collection range from the mid-19th century through the 20th century. Selected by Dr. Walker, these wearable artworks come from Indonesia, Africa, South and North America. They represent the impact of European traders across other continents of the world.

 

Flora and Fauna

In December, the DMA will present Art and Nature in the Middle Ages, an exhibition featuring extraordinary works of art from the 12th through the 16th century that emphasize the vital union between humans and nature. The exhibition, organized by the Musée de Cluny, musée national du Moyen Âge, Paris, and on view exclusively in the U.S. at the DMA, is composed of more than one hundred objects reflecting the wide range of styles, techniques, and iconography that flourished during this period. Accompanying the exhibition is a publication featuring thematic essays available for the first time in English and a fully illustrated checklist. Edited by Dr. Nicole R. Myers, the DMA’s Lillian and James H. Clark Curator of European Painting and Sculpture, the catalogue celebrates nature’s constant presence in the immediate environment and spiritual life of men and women in the Middle Ages.

Scene of chivalry from the Seigniorial Life tapestry cycle, Southern Netherlands, c. 1510–1520, wool and silk, Musée de Cluny, musée national du Moyen Âge, Paris, CL 2179 Photo © RMN-Grand Palais (musée de Cluny - musée national du Moyen-Âge) / Franck Raux

Scene of chivalry from the Seigniorial Life tapestry cycle, Southern Netherlands, c. 1510–1520, wool and silk, Musée de Cluny, musée national du Moyen Âge, Paris, CL 2179 Photo © RMN-Grand Palais (musée de Cluny – musée national du Moyen-Âge) / Franck Raux

 

Across the Pond

The Museum’s The Seine at Lavacourt by Claude Monet is currently on a brief European tour. The painting is part of an exhibition exploring the work of Charles-Francois Daubigny and his influence on French landscape painting, with a focus on the work of Daubigny, Monet, and van Gogh. Monet’s 1880 water landscape is on view at the Scottish National Gallery through early October as part of the Inspiring Impressionism: Daubigny, Monet, Van Gogh before traveling to the Van Gogh Museum in late October. The painting will return to the DMA following the final presentation in Amsterdam in late January 2017.

Claude Monet, The Seine at Lavacourt, 1880, oil on canvas, Dallas Museum of Art, Munger Fund 1938.4.M

Claude Monet, The Seine at Lavacourt, 1880, oil on canvas, Dallas Museum of Art, Munger Fund 1938.4.M

 

On View at the DMA This Fall

Nicolas Party: Pathway
Through February 12, 2017
Concourse
DMA organized; exclusively at the DMA

Concentrations 60: Lucie Stahl
September 16, 2016–March 12, 2017
Hoffman Galleries
DMA organized; exclusively at the DMA

Waxed: Batik from Java
September 25, 2016–September 10, 2017
Level 3
DMA organized; exclusively at the DMA

Divine Felines: Cats of Ancient Egypt
October 9, 2016–January 8, 2017
Chilton Gallery I

Shaken, Stirred, Styled: The Art of the Cocktail
November 18, 2016–November 12, 2017
Focus Gallery II
DMA organized; exclusively at the DMA

Art and Nature in the Middle Ages
December 4, 2016–March 19, 2017
Chilton Gallery II
U.S. exclusive venue