Fri. November 18, 2016
Type Hike is a collaborative design project that includes 60 designers and typographers. Each has created a unique design for a park they love in celebration of the National Parks Service centennial this past August. The project is organized by David Rygiol and Design lecturer James Louis Walker.
Fri. November 18, 2016
In 2010, Vanessa Paumen (B.A. in Art History, 1997; M.A. in Art History, 2002) was hired as a curator and coordinator of the Flemish Research Center for the Arts in the Burgundian Netherlands at the Groeningemuseum in Bruges (Belgium). The Groeningemuseum holds an important collection of art works from the 15th century onwards, with a focus on art related to the city of Bruges. From October 28, 2016 – February 5, 2017, the Groeningemuseum is exhibiting The Art of Law. Three Centuries of Justice Depicted, featuring twenty works of art from the museum’s collections of Musea Brugge supplemented by about a hundred other pieces on loan from galleries and museums from around the world. Paumen has always been fascinated by the artwork of 15th century Flanders, and especially works around depictions of law and justice. In her master’s degree thesis, Judged, Beheaded, Burned: Dieric Bouts' The Justice of Emperor Otto III within the Context of Fifteenth-Century Punitive Practices, she looked at how justice paintings functioned in 15th century Flemish society.
She answered questions by email.
Why were you drawn to the subject of depictions of law and justice in art?
I became interested in this theme because of two particularly fascinating paintings produced in 15th century Flanders: The Justice of Otto III by Dieric Bouts (ca. 1473) and The Judgment of Cambyses by Gerard David (ca. 1498). These large, impressive works were ordered by the aldermen of their respective cities (Louvain and Bruges) as exempla iustitiae paintings for the aldermen's rooms. In those days, the aldermen also functioned as judges and pronounced judgment.
It was during a study-abroad trip with Professor Jeffrey Smith and fellow graduate students that I “discovered” these two works. In addition to the stories that were depicted, I became interested in the ways these large works would have functioned and had an impact on their contemporary viewers.
I wanted to know more about which aspects of the 15th century justice system were embodied in these works and what these art works could tell us about that system and its fundamental beliefs. With the encouragement of Dr. Smith, I embarked on researching the topic for my master’s thesis. It became a fascinating voyage into civic patronage, legal history, 15th century belief systems on judgment and punishment and of course several of the major painters of the time.
Was this exhibition a natural extension of your previous work on the subject or something of a new approach?
My fascination with the subject never abated after my time at The University of Texas at Austin, although I did not actively continue research on the matter until recently for the exhibition at the Groeningemuseum in Bruges. When I was hired in 2010, I was thrilled that I had ended up in my career at the very "home" of one of my favorite artworks: Gerard David’s Judgment of Cambyses. Being able to see this work regularly rekindled the desire to delve into the subject matter again, but now from a presentational perspective in the museum. The work—because of its very detailed depiction of a man being flayed alive—stops visitors in their tracks and leaves an impression. While most visitors will remember seeing the painting, it is because of its gruesome nature and not because of its function and context. I wanted to draw attention to that aspect of the work. David didn’t just paint something that is hard to look at, but a work that embodies various aspects of 15th century belief system on justice and judging.
As a result, the idea of a small exhibition focusing on the theme of the Judgment of Cambyses and its popularity during the 16th and 17th centuries ensued. But very quickly as I got reacquainted with the topic, my wish list grew and I proposed a larger exhibition encompassing several works of art created in the context of justice from about 1450 to 1750, the period of the Ancien Régime.
During my initial research in graduate school, I had to consult quite a bit of a legal history in order to get around my topic. However, it was impossible to fully delve into a completely different area of study while doing a relatively small project like a thesis. So this time, for the exhibition, I wanted to make sure that we had both fields well covered. I approached a professor of law and legal history at the Institute for Legal History at the University of Ghent (Belgium) as I knew his research also focused on art works in a legal context. Professor Martyn was immediately enthusiastic to collaborate as an advisor on the exhibition project together with doctoral candidate Stefan Huygebaert, an art historian with a focus on legal iconography. A colleague specialized in museum education and outreach at the Groeningemuseum, Tine Van Poucke, focused on how we would present an exhibition of this type to the museum visitor. Through this close collaboration, we complemented each other by bringing our areas of expertise together. I strongly believe in the strength and added value of interdisciplinary research and projects, and this was a great opportunity to bring two fields together. We wanted the catalogue of the exhibition to reflect this as well so the texts are written by legal as well as art historians.
Can you contextualize the exhibition for me? Can you speak to how it is situated within the mission and programming of the Groeningemuseum?
For this exhibition we started from our own rich collections in Bruges, not only the Groeningemuseum, but also the Bruggemuseum, the Brugse Vrije (one of the courthouses) and the Bruges Public Library. We then complemented these works with relevant loans from national and international institutions and collectors. Several of the works are not from public collections so are not easily accessible. Not only are we presenting our own works in a new context, and making connections with similar art works from other collections, several of the works have not been in a museum for decades.
What are some of your favorite or most intriguing pieces on display during this exhibition? Why do they hold this place for you?
It is, of course, fabulous for me to see my favorite work by Gerard David surrounded by other works (paintings, drawings, stained glass, a manuscript illumination and prints) in the exhibition. The panels – which are large and very heavy— have a fixed place in the permanent collection. For this exhibition we were able to move them to a different gallery, in a different scenography and lighting, which places the panels quite literally in a new light. It has been astounding to observe that people who are familiar with the paintings now notice details not seen before.
What do you see as the link between the law or the justice system and visual arts in general, and specifically as depicted within this exhibition?
The visual arts enforced the message and thus the meaning of the justice system, or rather, at that time, the belief system concerning justice and judgment. A good example of this visual codification is the legal writings of Joost De Damhouder.
De Damhouder was a Bruges lawyer who wrote several early treatises on civil and criminal law. (To be entirely correct, he plagiarized another book by a Ghent lawyer and supplemented it with narratives from his own professional experience.) Damhouder’s books were translated in several languages and widespread, they became the foundation for later legal codices. The author insisted on having his books illustrated with woodcut prints. This was of such importance to him that he even delayed the publishing of his book in order to wait for the completion of the illustrations. Even though his texts are very thorough and descriptive, he insisted on having illustrations as they heightened and enforced the message to be conveyed even for a specialized audience. This was true for all the art works in this exhibition in which messages and iconography prevail – a picture speaks more than a thousand words, goes the saying. It must have run very true in the context of the justice system during the late middle ages.
In fact, most of the themes of the works in this exhibition originate in texts. This is especially so for the exempla iustitiae which are drawn from Biblical texts (e.g. Solomon) as well as legends and historical texts (e.g. Zaluecus, Trajan, etc.). The images were meant to have an impact on the aldermen/judges as they hung in plain sight while they performed their tasks.
Another link between the justice system and the visual arts exists in the depiction of Lady Justice with her nowadays well-known attributes the sword, scales and blindfold. This image is ubiquitous even in today’s society. In the exhibition, we focus on her development as iconic image symbolizing justice. We trace her development from the archangel Michael, the virtues and her iconography, which once included elements we no longer associate with justice today. The blindfold, for instance, which today symbolizes impartiality originally held a negative connotation. We show the very first instance where Lady Justice mockingly is blindfolded by a fool in a 1494 wooden engraving by Dürer (from Sebastian Brandt’s Ship of Fools).
What do you take from your time spent at UT? What has had the most impact on your current studies, research, and career?
My first years of graduate school at UT were immensely rewarding in many ways. As an undergraduate student, I had had many interests and also had pursued several majors that made me waiver from one thing to another at times. Then, in graduate school in the art history department, I realized that having a broad spectrum of interests was actually not a negative trait but beneficial to art historical research.
Many of our students hope to one day become curators. How did you achieve this goal?
I am convinced that any personal achievement is always the result of a combination of several values: belief in the type of work you do, persistence when things don’t work out as planned, flexibility and creating a network of people you admire. When then the little bit of luck of being in the right place at the right time comes along and an opportunity presents itself, you are prepared to act on it.
Becoming a curator was actually not my goal during graduate school. My goal then was to end up at a small liberal arts college in the United States teaching art history. I wanted to instill in young adults about to embark on a variety of careers with a profound respect and basic fundamental knowledge of art, heritage, culture and history.
But my path was laid out differently, and I ended up in a museum in Belgium. While I had worked at a contemporary art organization prior to starting graduate school, I learned most of the typical museum fundamentals during my current job. In the beginning I missed teaching. Since then the Flemish research centre for the arts in the Burgundian Netherlands has initiated academic programs that brings teaching into the museum(s). One is an intensive Summer Course, which brings Ph.D.-level students to Belgium for a 10-day submersion into collections, research institutions, etc., all guided by experts. Another caters to master’s-level students who come to the centre in Bruges twice over three days, where we introduce them to our collection of Flemish Primitives and the research field. In that way we hope to instill in them a profound interest in Flemish art of the 15th and 16th centuries. Through these programs, I have a new opportunity now to work with students, to inspire them and be inspired by their research endeavors.
Thu. November 17, 2016
Lisa Laughlin Boyd grew up around art and around those who created artwork. Attending Fort Worth Country Day School in Dallas, she would take the evening classes in drawing and sculpture at what is currently The Modern in Fort Worth. At the beginning of her undergraduate career, she attended Vanderbilt University before realizing that she wanted to pursue art history in earnest and transferred to The University of Texas at Austin. What she realized then, and continues to emphasize today, about the strength of the UT Department of Art and Art History was its diversity in course offerings and intellectual excellence. Over the course of her B.F.A. in Art History (1972), she was able to take courses in art history, studio art and design. The experience would influence her choice to continue on at UT, earning her master’s degree in art history (1976) where she focused on contemporary American architecture. “I had an advisor, Blake Alexander, who was the Architectural Historian in the School of Architecture as well as Dr. Tom Reese, who would later go on to the Getty Center for the History of Art and the Humanities. They helped me craft my master’s thesis on the work of Louis Kahn, specifically The Kimbell Art Museum and the Yale Center for British Art.”
But like other students who graduate from the Department of Art and Art History, Boyd’s life took an interesting turn. Some time after completing her master’s degree, Boyd went on to earn her M.B.A. in financial planning and become a Financial Planner in Dallas. She was brought back to Austin, and to her love of the arts, by the work of the administration at the Department of Art and Art History. “It was so exciting for me to be back in that [academic] environment where you work scholastically every day,” she said. “It was stimulating and different from what I was doing at home. I had a few friends on the council at that time and I just became very enthusiastic about bringing others aboard. Eventually, I just loved Austin enough to buy a lot and build a house and move here.”
As a society and as individuals, we’re at a moment when we’re being asked to invest socially and politically in the issues that matter to us. So we had to ask: How do you see the Director’s Council growing in the coming years and how can people get involved? “Well, first, you have to have the time,” said Boyd. “I always stress how much time you have to invest in the council and how much you get in return in terms of learning about your institution and your connections with UT.”
“In terms of where we’re going, the council is really looking to diversify, both in terms of experience with the University or Texas, and even with the arts,” said Boyd. “It’s important to get new blood and hear new voices.”
Boyd is a mainstay at Visual Arts Center events and the annual Open Studios, where the department opens its doors so that the public can get a glimpse of the work and workspaces of M.F.A. candidates in Studio Art and Design. A firm believer in supporting young artists across all disciplines, Boyd looks for work that stays with her long after initial viewing. “I don’t think of myself as a collector, per se,” Boyd said. “But I do collect.” As a practicing artist, Boyd prefers to paint representationally. However, when collecting works to decorate her own home, Boyd selects abstract works that challenge her. “It's all part of this huge tapestry of talent and creativity, you know?” Boyd reflected. “Back in the '60s or '70s, it might not have been considered valid to draw the figure or draw a landscape. But contemporary taste and criticism prize diversity and an appreciation for all sorts of expressions that enrich our lives.”
Boyd’s support for the arts, the Department of Art and Art History and individual artists’ work—whether in the form of an M.F.A. candidates’ work, the Director’s Council, or collaborating with architect Michael Hsu on the design of her home—comes from a sense that people should live with the objects that move them, that take them out of their own lives and enrich their experience.
Thu. November 17, 2016
In the introduction to a release from Petzel Gallery, Brauntuch's exhibition was described:
"An enormous painting of a nude welcomes the viewer: her arms are outstretched, her hands cropped, her torso slightly abstracted, her head tilts backward to the left into the dark blue background. Supposedly, she represents eternal beauty and perfection; however, the work is derived from a Heinrich Hoffmann photograph—a German propaganda image of a marble sculpture from the 1930s. A second picture in this gallery space closes in on an artist standing high atop a ladder, chiseling the head of a giant sculpture. Josef Thorak, Hitler’s most admired sculptor has been a source for various works by Brauntuch, who appropriated images of disinformation back in the 1970s when he was a member of the Pictures Generation, and sets the stage for this, Brauntuch’s sixth solo exhibition at Petzel."
Wed. November 16, 2016
The Oplontis Project is a multidisciplinary study of Villa A (“of Poppaea”) and Villa B (“of Lucius Crassius Tertius”) at Oplontis within Torre Annunziata, Italy. Under the direction of Professor of Art History John R. Clarke and Director of the Center for the Study of Ancient Italy Michael L. Thomas of The University of Texas at Austin and in collaboration with Soprintendenza Speciale per i Beni Archeologici di Napoli e Pompei, an international team of scholars is working to publish definitive studies of all aspects of these sites.
In September, a symposium was held at Montana State University to share both the ancient and modern meaning concerning the “spirit of place” and the idea of “genius loci” in context of the two archaeological sites at the ancient Roman seaside town of Oplontis.
The symposium was organized by UT alumna Regina Gee (Ph.D. in Art History, 2003) and included John R. Clarke, Michael Thomas and alumnus Ivo van der Graaff (Ph.D. in Art History, 2013). The presenting scholars are part of a decade-long international collaborative study to preserve and publish the material record of this extraordinary joint site, and in so keeping it alive for future generations of scholars. In doing so, their inter-disciplinary, contextual studies illuminate how the physical setting influenced the culture and economics of this playground for Rome’s rich and famous on the Bay of Naples.