Tag: Museo di Capodimonte

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. 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

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