Category Archive for: ‘Events’

Virtual Salon: The Colour of Anxiety: Race, Sexuality and Disorder in Victorian Sculpture

Please join us on Friday, January 13 at 11AM ET for “The Colour of Anxiety: Race, Sexuality and Disorder in Victorian Sculpture,” a Virtual Salon discussing the exhibition of this title currently at the Henry Moore Institute in Leeds. Its co-curators, Adrienne L. Childs and Nicola Jennings, will be joined by art historian Lynda Nead in a discussion moderated by Isabel L. Taube of Nineteenth-Century Art Worldwide.

As we interrogate the time-honored concept that all classical sculpture was white, we have become more attuned to polychrome sculpture in the post-classical period as well. Nineteenth-century sculptors in particular incorporated color into their work, using a variety of materials and methods. Participants in this Salon will discuss this phenomenon of “colored sculpture” with all its aesthetic, political, and sociological ramifications.

Adrienne L. Childs is Adjunct Curator at the Phillips Collection in Washington, DC, where she curated the exhibition “Riffs and Relations: African American Artists and the European Modernist Tradition.” In 2022 she received the Driskell Prize in African American Art from the High Museum in Atlanta, Georgia. She contributed to The Image of the Black in Western Art (2010) and is co-editor of Blacks and Blackness in European Art of the Long Nineteenth Century (2017). Her current book project is “Ornamental Blackness: The Black Figure in European Decorative Arts,” forthcoming from Yale University Press.

Nicola Jennings is a Visiting Lecturer at the Courtauld Institute of Art and Director of the Athena Art Foundation, a UK arts charity that uses digital platforms to engage new audiences with pre-twentieth century art. She was formerly Director of the Colnaghi Foundation. She has co-edited several books, including Alonso Berruguete: Renaissance Sculptor (2017), Juan de Mesa: The Master of Passion (2018) and Gothic Architecture in Spain: Invention and Imitation (2020).

Lynda Nead is Pevsner Professor of History of Art at Birkbeck, University of London. Her books include Victorian Babylon: People, Streets and Images in Nineteenth-Century London (2005); The Haunted Gallery: Painting, Photography, Film c.1900 (2008); and The Tiger in the Smoke: Art and Culture in Post-War Britain (2017). She is currently working on a book called “British Blonde: Women, Desire and the Image in Post-War Britain,” to be given as the biennial Paul Mellon Lectures in 2023.

Isabel L. Taube is the co-managing editor of Nineteenth-Century Art Worldwide. She has taught at Boston College, Rutgers University, and the School of Visual Arts. As an independent curator, she has organized exhibitions at the Frick Pittsburgh, the Philadelphia Museum of Art, and the School of Visual Arts Gallery. She is currently working on a book about eclecticism in nineteenth-century interiors.

This series of online events is co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. The event is free and open to the public, but registration is required at: https://tinyurl.com/colour-anxiety.
Virtual Salon: Tutankhamun and the Tomb that Changed the World

Please join us on Tuesday, December 6, 2022, 7PM ET for “Tutankhamun and the Tomb that Changed the World,” a Virtual Salon with Bob Brier, moderated by J. David Farmer. This series of online events is co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

This Salon honors the hundredth anniversary of the discovery of Tutankhamun’s tomb, as well as the publication of Brier’s monograph, “Tutankhamun and the Tomb that Changed the World” (Oxford University Press, 2022). Brier surveys recent research on Tutankhamun, and discusses the legacy of the tomb, how its discovery changed the politics of Egypt, the antiquities laws, and even how museums presently function.

Bob Brier is Senior Research Fellow at Long Island University and the subject of a National Geographic special, Mr. Mummy. He is the host of the six-part series The Great Egyptians and the three-part series Mummy Detective, both for Discovery, and is featured in the National Geographic film Unlocking the Great Pyramid. He has published numerous articles in both scholarly journals and popular magazines and is the author of several previous books on Egyptology.

David Farmer was Founding Director of the Dahesh Museum of Art and is currently its Director of Exhibitions. His art historical interests include Early Northern European art and nineteenth-century academic art worldwide.

The event is free and open to the public, but registration is required at: https://tinyurl.com/tuts-tomb .

Virtual Salon: Data-Driven Art History: A Conversation

Please join us on Friday, November 11 at 11AM EST for the Virtual Salon “Data-Driven Art History: A Conversation.” This series of online events is co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

While all art history can be defined as data-based, the term “data-driven art history” has come to signify quantitative methodologies adopted from sociology and economics and applied to datasets like exhibition catalogs and sales records. The results can be used to analyze the entire field of art production, its reception and its transformation into canonical art history. In this Salon, two major proponents of data-driven art history, Dr. Christian Huemer and Dr. Diana Seave Greenwald, will discuss their work and offer their thoughts on the possibilities and promise of this methodology.

Christian Huemer is Director of the Belvedere Research Center in Vienna where he is in charge of the museum’s analog and digital research infrastructure. He is also president of DArtHist Austria – the national network for digital art history. Previously he was responsible for the development of the Getty Provenance Index® Databases, including data-driven research projects that led to publications such as London and the Emergence of a European Art Market, 1780–1820 (co-edited with Susanna Avery-Quash).

Diana Seave Greenwald is William and Lia Poorvu Interim Curator of the Collection at the Isabella Stewart Gardner Museum. She is the author of Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton University Press, 2021). She was previously a postdoctoral fellow at the National Gallery of Art and at the Université libre de Bruxelles.

The event is free and open to the public, but registration is required at: https://tinyurl.com/data-driven-art.
Virtual Salon: (Re)Presenting the 19th Century

Please join us on Thursday, October 20 at 7PM for “(Re)Presenting the 19th Century,” a Virtual Salon organized by AHNCA’s Emerging Scholars Working Group for the 2022–2023 season. This series of online events is cosponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. “(Re)Presenting the 19th Century” will feature Iris Moon (Metropolitan Museum of Art), Emerson Bowyer (Art Institute of Chicago), and Thomas Busciglio-Ritter (Joslyn Art Museum) in conversation about their respective progress on reinstalling their institutions’ 19th-century galleries. Speakers will address various approaches and strategies for representing 19th-century collections for contemporary audiences. The panel will be moderated by Theresa A. Cunningham, Assistant Curator at the Dixon Gallery and Gardens. The event is free and open to the public but registration is required at https://tinyurl.com/representing19.

Iris Moon, The Metropolitan Museum of Art

Iris Moon is Assistant Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. Her research on European decorative arts and architecture has been supported by the Paul Mellon Centre, the Decorative Arts Trust, the Clark Art Institute, and the Getty Research Institute. Alongside curatorial work at The Met, where she recently participated in the reinstallation of the British Galleries, she teaches at The Cooper Union. She is the author of Luxury after the Terror (2022) and Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (2016), and co-editor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France (2021). A new book on Wedgwood is forthcoming with MIT Press (2023).

Emerson Bowyer, The Art Institute of Chicago

Emerson Bowyer is Searle Curator, Painting and Sculpture of Europe, at the Art Institute of Chicago. A specialist in 18th- and 19th-century French and British art, he has previously worked at the Frick Collection, the Fine Arts Museums of San Francisco, and the Metropolitan Museum of Art in New York. His exhibitions include David d’Angers: Making the Modern Monument (Frick Collection, 2013), Luminous Worlds: British Works on Paper 1760–1900 (Fine Arts Museums of San Francisco), and Like Life: Sculpture, Color, and the Body (Met Breuer, 2018), for which he was co-curator. Emerson is currently working on two exhibitions, on Antonio Canova’s clay sketches and the sculpture of Camille Claudel.

Thomas Busciglio-Ritter, Joslyn Art Museum

Thomas Busciglio-Ritter is Richard and Mary Holland Assistant Curator of American Western Art and a Ph.D. candidate in Art History at the University of Delaware. His research examines the visual culture of landscape, American race relations, and tourism, as well as transatlantic circulations during the nineteenth century. A native of France, Busciglio-Ritter holds Master’s degrees in history and art history from the Paris Institute of Political Studies and the École du Louvre. His research has been published in scholarly journals such as the Revue de l’Art, Athanor, and Panorama. He has previously worked on curatorial projects at the Pennsylvania Academy of the Fine Arts and the Metropolitan Museum of Art.
Virtual Salon: Dahesh Prize Redux

Please join us on Friday, September 30 at 1PM for “Dahesh Prize Redux,” our first Virtual Salon of the 2022–2023 season. This series of online events is cosponsored by the Association of Historians of Nineteenth-Century Art and the Dahesh Museum of Art. “Dahesh Prize Redux” will feature the two recipients of the Mervat Zahid Cultural Foundation Prize at the nineteenth annual AHNCA/Dahesh Graduate Student Symposium in Nineteenth-Century Art that took place in March 2022. They will re-present their papers and discuss their work and future plans. The event is free and open to the public but registration is required at https://tinyurl.com/daheshredux2022.

Thomas Busciglio-Ritter, University of Delaware, “From Brussels to Point Breeze:
Charlotte Bonaparte and the American Landscape, 1821–1825.”

Busciglio-Ritter examines the production of landscape images by Charlotte Bonaparte during her American residence, 1821–1824. Her involvement with networks of transatlantic lithographers and painters resulted in the publication of her portfolio of sketches: Picturesque Views of America, one of the first to widely circulate views of U.S. scenery in print to European audiences.

He is the Richard & Mary Holland Assistant Curator of American Western Art at Joslyn Art Museum in Omaha, as well as a doctoral candidate at the University of Delaware. A scholar from France, he previously received an MA from the École du Louvre. His research covers nineteenth-century landscape art, racial relations, environmental issues, and artistic circulations between Europe and the United States. He was awarded an Andrew W. Mellon Foundation Curatorial Fellowship at the University of Delaware and a 2021 Terra Foundation Research Travel Grant. His research has been published in Revue de l’Art, the Oxford Journal of the History of Collections, Panorama, and Early American Studies as well as in the exhibition catalog Rosa Bonheur at the Musée des beaux-arts in Bordeaux and at the Musée d’Orsay.

Moderator Patricia Mainardi, City University of New York, Program Director AHNCA.

Carter Jackson, Boston University, “Turbulent Politics and a Stage for Democracy:
Government and Governmentality in the Allegheny County Courthouse.”

Jackson explores the role of architecture during moments of political unrest by examining how Henry Hobson Richardson’s design for the Allegheny County Courthouse, completed in 1888, mediated a fraught relationship between citizens and their government in late nineteenth-century Pittsburgh.

He is a doctoral candidate at Boston University. His research focuses on issues related to nineteenth-century architecture, nationalism, and subjectivity in Britain and the United States. He received his undergraduate degree in architecture and worked as a designer in professional practice before completing his MA in the History of Art at the University of York. He has been a Research Intern at the Victoria and Albert Museum, the MIT Museum, and Historic New England. During the summer of 2022 he worked as an historian for the National Park Service’s Historic American Buildings Survey, documenting Paul Rudolph’s Boston Government Service Center for the HABS collection at the Library of Congress.

Moderator Kevin Murphy, Vanderbilt University.
Virtual Salon: Nineteenth-Century Print Culture

Please join us on Thursday, May 19 at 1PM EST for the May Virtual Salon co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. This online event is free and open to the public, but registration is required: https://tinyurl.com/printculture.

In this Salon, Britany Salsbury (Cleveland Museum of Art) will moderate a conversation with Fleur Roos Rosa de Carvalho (Van Gogh Museum), Allison Rudnick (Metropolitan Museum of Art), and Juliet Sperling (University of Washington), who will discuss their current research in the field of 19th-century prints and ephemera, followed by a Q&A.

Britany Salsbury is associate curator of prints and drawings at the Cleveland Museum of Art and a specialist in 19th-century European works on paper. Her exhibitions and publications include Altered States: Etching in Late 19th-Century Paris (2016); and the forthcoming Nineteenth-Century French Drawings from the Cleveland Museum of Art (2023) and Degas and the Laundress: Women, Work, and Impressionism (2023). With Ruth E. Iskin, she co-edited the book Collecting Prints, Posters, and Ephemera: Perspectives in a Global World (2019) and contributed a chapter on the collector and scholar Loys Delteil. Her dissertation on print portfolios in fin-de-siècle Paris, completed in 2015 at the Graduate Center of the City University of New York, was supported by funding from the Getty Research Institute and the Andrew W. Mellon Foundation.

Fleur Roos Rosa de Carvalho is Senior Curator of Prints and Drawings at the Van Gogh Museum Amsterdam. She has exhibited and published widely on fin-de-siècle printmaking and print collecting, focusing in particular on the art of the Nabis, Odilon Redon and Henri de Toulouse-Lautrec. In 2017 she published her overview of the period: Prints in Paris 1900: From Elite to the Street. She is currently preparing the catalogue “Souvenirs d’une opération laborieuse”: reconstructing the genesis of the Vollard suites by the Nabis artists and the printer Clot (1896–1900). Her research is generously supported by the Vincent van Gogh Foundation, The Getty Paper Project, The Elise Wessels Foundation, the Institut national d’histoire de l’art (INHA) and the IFPDA.

Allison Rudnick is Associate Curator of Drawings and Prints at the Metropolitan Museum of Art where she oversees the collection of printed ephemera. Rudnick’s research interests include the visual culture of the United States in the nineteenth and twentieth centuries, uses of printmaking in activist practices, and the sociopolitical effects of developments in modern print technologies. She is currently organizing an exhibition and related publication on art and politics in the U.S. in the 1930s, which explores the transmission of political ideas and propaganda through the material culture of the period. She received her B.A. in Art History and Museum Studies from Connecticut College and her M.Phil. in Art History at the Graduate Center of the City University of New York (CUNY), where she is currently completing a Ph.D.

Juliet Sperling is an Assistant Professor of Art History and Kollar Endowed Chair in American Art in the School of Art + Art History + Design at the University of Washington. Her current book project, Tactile Encounter and the Moving Image in American Art, offers a new account of ways of seeing in the United States by charting a history of how, and to what ends, vision and touch converged on the surfaces of interactive prints during the transformative period between c. 1776–1910. Sperling is Chair of the Association of Historians of American Art and a senior fellow and founding member of the Andrew W. Mellon Society of Fellows in Critical Bibliography.
Virtual Salon: Degas Up Close

Please join us on Friday, April 29, at 2PM EST for Degas Up Close, the April Virtual Salon co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. This online event is free and open to the public, but registration is required: https://tinyurl.com/degassalon.

In this Salon, Line Clausen Pedersen (National Galleries of Scotland), Devi Ormond (J. Paul Getty Museum), and Catherine Schmidt Patterson (Getty Conservation Institute) will discuss their collaborative research on Edgar Degas’s Dancers Practicing in the Foyer (1880s, Ny Carlsberg Glyptotek), followed by a Q&A.

Line Clausen Pedersen is an art historian currently working in Edinburgh as the Director of collection and research at the National Galleries of Scotland. Previously working as a curator and head of department at the Ny Carlsberg Glyptotek, Copenhagen, Line has been responsible for numerous international exhibitions and publications, including exhibitions on Bonnard, Gauguin, Degas, Th. Rousseau and Odilon Redon. Her research is driven by technical studies and has a focus on artistic practices across techniques, chronology and motifs. Recent and current research includes studies of Degas’ practice in wax and a manuscript on curatorial approaches and explorative work with the permanent collections based on case-studies.

Devi Ormond is an associate conservator of paintings at the J. Paul Getty Museum. She received her Master’s degree in Paintings Conservation in 1999 from the University of Northumbria at Newcastle. She then spent two years at the Hamilton Kerr Institute Cambridge, UK and completed several internships both in Museums and private studios in Europe and the US. She worked at the Victoria & Albert Museum and the Kröller-Müller Museum developing a specialism in the conservation and technical examination of 19th Century paintings. At the Van Gogh Museum for seven years, Devi conserved and researched paintings by both Van Gogh as well as his Dutch and French contemporaries

Catherine Schmidt Patterson is a Scientist at the Getty Conservation Institute (GCI), where she is a member of the Technical Studies research group. Her primary areas of research are the use of non- or minimally-invasive techniques such as Raman microspectroscopy, x-ray fluorescence spectroscopy, and technical imaging to study works of art, the development of new analytical methodologies, and technology transfer for the benefit of cultural heritage science. Prior to joining the GCI as a member of staff in 2009, she held the GCI’s prestigious Postdoctoral Fellowship in Conservation Science (2007–2009). She received her Ph.D. in Chemistry at Northwestern University, where her research focused on the fundamental physical chemistry governing the interaction of indoor air pollutants with catalytic surfaces.