Tag: Dr. Sarah K. Kozlowski

Greetings from the Associate Director

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

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

La Capraia at the Museo di Capodimonte

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

Dr. Sarah K. Kozlowski

Associate Director

The Edith O’Donnell Institute of Art History

Greetings from the Assistant Director

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

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

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

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

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

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

Dr. Sarah K. Kozlowski

Assistant Director

The Edith O’Donnell Institute of Art History

 

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

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

Napoli e il Museo e Real Bosco di Capodimonte

in un contesto mondiale  

12-14 Ottobre 2017

 

 

Giovedì 12 Ottobre

Museo e Real Bosco di Capodimonte

 

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

9.45                 Partenza shuttle per il Cellaio

 

IL CELLAIO

10.00               Caffè di benvenuto

10.30               Saluti introduttivi

                        Sylvain Bellenger (Direttore Museo e Real Bosco Capodimonte)

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

                        Barthélémy Jobert (Presidente Università Paris-Sorbonne)

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

11.00-11.40     Il porto di Napoli nel Mediterraneo

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

OECD)

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

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

11.40-11.50     Breve introduzione alla storia del Bosco di Capodimonte

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

12.00               Shuttle dal Cellaio verso il Giardino Torre

                         Passeggiata guidata nel Bosco di Capodimonte fino al Giardino Torre

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

12.45-13.45     Pranzo al Giardino Torre

13.45               Ritorno al Cellaio con shuttle

14.00               Caffè

14.15               Inizio lavori

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

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

14.30-15.00    La Chiesa di San Gennaro a Capodimonte

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

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

                         Robin Thomas (Pennsylvania State University)

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

                         Alba Irollo (Bruxelles)

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

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

 

 

Porto

 

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

Antimo Cesaro (Mibact, Sottosegretario)

                       Vincenzo de Luca (Regione Campania, Presidente)

                        Luigi De Magistris (Comune di Napoli, Sindaco)

 

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

 

 

Venerdì 13 Ottobre

Museo di Capodimonte

 

GALLERIA NAPOLETANA/2° piano

 

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

 

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

 

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

                         their Context

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

Hertziana)

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

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

 

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

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

 

SALA BURRI/2° piano sezione arte contemporanea

 

10.45               Caffè

 

11.00-11.30     L’Arte Contemporanea al Museo di Capodimonte

                        Andrea Viliani (Napoli, Museo MADRE)

 

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

                        Riccardo Venturi (Parigi, Gerda Henkel Stiftung)

 

GALLERIA NAPOLETANA/Sala 102/2° piano

 

12.00-12.30     Silver: Surface and Substance

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

 

 

APPARTAMENTO REALE/Sala 44 /1° piano

 

15.00-15.30     Foreigners and their Role in the Neapolitan Crêche

                        Carmine Romano (Université Paris-Sorbonne)

 

GALLERIA FARNESE/Sala 19/1° piano

 

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

                           and the court of Cardinal Odoardo Farnese

Mary Vaccaro (University of Texas at Arlington)

 

WUNDERKAMMER/Galleria Farnese/1° piano

 

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

                         Leah Clark (The Open University)

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

                        Gian Giotto Borrelli (Università degli Studi Suor Orsola Benincasa)

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

 

Sabato 14 Ottobre

Museo di Capodimonte

                          

APPARTAMENTO REALE/Sala 60/1° piano

 

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

 

9.50                 Introduce e coordina Tanja Michalsky (Bibliotheca Hertziana)

 

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

                           sacro tra committenza, tutela, commercio e musealizzazione

                         Sabina de Cavi (Universidad de Córdoba)

 

GALLERIA NAPOLETANA/Sala 104/2° piano

 

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

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

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

 

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

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

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

Visual Arts)

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

 

15.00-15.30     Napoli e Cina

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

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

                         Tobias Locker (Universitat Pompeu Fabra, Barcelona)

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

Agnese Pudlis (Royal Castle, Warsaw)

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

 

CORTILE

 

17.30               Cocktail di chiusura

Saluti

Sylvain Bellenger (Direttore Museo e Real Bosco Capodimonte)

 

                        Conclusioni

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

 

 

 

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.

Greetings from the Assistant Director

To launch the new year, on Saturday, January 13 the O’Donnell Institute partnered for the first time with the Crow Collection of Asian Art to present a symposium on the global histories of ceramics. Called Talavera and Ceramic Connections: East Asia, West Asia, and the Americas, the symposium brought together an all-star team of distinguished scholars to study and respond to the Crow’s stunning new exhibition Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles. The exhibition’s curator Farzaneh Pirouz was joined by Denise Leidy (Curator of Asian Art at Yale University Art Gallery), Guy Thomson (Professor Emeritus of Latin American History at University of Warwick), Jessica Hallet (Researcher in Art History at the Universidade Nova de Lisboa), Ronda Kasl (Curator of Latin American Art at the Metropolitan Museum), and William Sargent (Curator Emeritus of Asian Export Art at the Peabody Essex Museum) for three morning lectures held at the Dallas Museum of Art and an afternoon of gallery-based break-out sections at the Crow. Like the exhibition itself, presentations and conversations were truly global in scope, ranging from sixth-century China to ninth-century Basra to sixteenth-century Mexico to circa-1900 New York. Our own Sabiha Al Khemir presided over the morning session, and Rick Brettell and Crow curator Jacqueline Chao moderated a closing panel in the afternoon.

 

Participants in the Crow's international symposium “Talavera and Ceramic Connections:  East Asia, West Asia, and the Americas”

Participants in the Crow’s international symposium “Talavera and Ceramic Connections: East Asia, West Asia, and the Americas”

 

By all accounts the symposium was a great success, and it’s precisely the kind of program that we are passionate about presenting: collaborative, object-led conversations with broad art historical implications. At the same time that speakers treated specific art historical questions like the origins of the use of cobalt blue in ceramics, the day raised larger questions with broad art historical significance: How is a complex technology transferred across space, time, and culture? How do objects made in one medium like clay dialogue with other mediums like glass and silver? How do local industries like that of Talavera in Puebla intersect with histories of class, race, and national politics? And how do our art histories of porcelain, for example, shape our practices of collecting—and vice versa? These and other questions that emerged from conversations and close looking will chart the course for future research.

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

 

If you were among the many friends and colleagues who joined us on Saturday, thank you for coming! If you were not able to attend, there is still time to see the exhibition before it closes in Dallas on February 12 and travels to Puebla, Mexico. It’s not to be missed!

Dr. Sarah K. Kozlowski

Assistant Director

The Edith O’Donnell Institute of Art History