Tag: Naples

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

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

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

 

PROPOSALS DUE APRIL 24, 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.