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The Association of Art Museum Curators (AAMC) and AAMC Foundation is honored to present a series of three webinars focusing on research, advances, and issues surrounding the topic of provenance research. The series was co-created and co-organized together by David Saunders, Associate Curator, Department of Antiquities, J. Paul Getty Museum and Judith Pineiro, Executive Director, AAMC & AAMC Foundation.

 Export to Your Calendar 6/12/2018 to 6/26/2018
When: June 12, 19, 26
12:00 - 1:15pm EST
Where: Zoom Webinar Platform
United States
Contact: Monica Valenzuela
646-405-8059


Online registration is available until: 6/27/2018
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AAMC Provenance Webinar Series

Live Webinars

June 12, 19 and 26th, 2018

12pm - 1:15pm ET

The Association of Art Museum Curators (AAMC) and AAMC Foundation is honored to present a series of three webinars on research, advances, and issues surrounding the topic of provenance. The series was co-created and co-organized together by David Saunders, Associate Curator, Department of Antiquities, J. Paul Getty Museum and Judith Pineiro, Executive Director, AAMC & AAMC Foundation.

With the establishment of substantial research databases and resources, great progress has been made in researching artworks that may have been subject to unlawful appropriation during the World War II era. As museums work to make their collections accessible online, there is both the need and potential to extend these advances to other categories of objects.

The first webinar will acknowledge the impact of the pioneering work in WWII era research and provide updates on the current status within the field. The second session will offer a review of work currently being undertaken for non WWII era looting and specifically looking at fields, including but not limited to, African Art, Asian Art and Antiquities. In the final session, we will emphasize the interest and need for progress in collaboration across diverse fields, present information on sharing data, and digitization and resources in communicating knowledge.

The three webinars will build from seminar to seminar, but do not require attendance at each one to gain value from an individual session. Scheduled over three Tuesdays this June 2018, registration is available at a purchase of a single session or package of all three.  Members and non-members alike can register directly online, with group rate packages available to participate. Access to webinar recordings will also be available for viewing with purchase.

Additional information on each webinar, including speakers and more expansive descriptions are below.


 

AAMC Provenance Webinar Series: Advances in WWII-era Provenance Research

Live Webinar


Tuesday, June 12, 2018

12:00pm - 1:15pm ET

Description

During this session, we will discuss advancements in the field of art provenance in museum collections, with a particular emphasis on the study of artworks that may have been looted between 1930-1945, during the National Socialist era. We’ll discuss the development of the discipline, new resources, methodologies, and research projects, and review “lessons learned,” for the future of this complex and specialized area of provenance research. 

 
Meet the Speakers
(listed alphabetically)


Karen Daly
, Registrar for Exhibitions and Coordinator of Provenance Research, Virginia Museum of Fine Arts, Richmond

Karen Daly has been a museum registrar at the Virginia Museum of Fine Arts (VMFA) since 1996. In 2003, she assumed an additional role as VMFA’s Coordinator of Provenance Research, serving as the museum’s contact person for information related to World War II era provenance, and as its coordinator of provenance research. Since 2012 she has been the Registrar for Exhibitions, overseeing departmental responsibilities for loan exhibitions to the museum. Ms. Daly holds a Masters of Arts degree in Art Historical Studies from Virginia Commonwealth University and a Bachelor of Arts degree in Philosophy and Religious Studies from Louisiana State University. She is a frequent lecturer on topics related to museums and provenance and has been published in the American Association of Museums 2005 publication Vitalizing Memory: International Perspectives in Provenance Research and in the American Association of Museums 2010 publication Museum Registration Methods 5th Edition.  She was also a participant in the 2017 German and American Provenance Research Exchange Program (PREP) for Museum Professionals.

 


Christel Hollevoet-Force
, Associate Research Curator, Modern and Contemporary, The Metropolitan Museum of Art

Before coming to the Met in 2005, Dr. Hollevoet-Force held curatorial positions in the Whitney Museum of American Art’s Independent Study Program, at the Solomon R. Guggenheim Museum, and at the Museum of Modern Art. She spearheaded MoMA’s Provenance Research Project, and remains dedicated to ownership history to this day. She contributed to Met catalogues dedicated to dealers Ambroise Vollard and Alfred Stieglitz, and artists Pablo Picasso and Henri Matisse, among others. She lectures frequently, and is on the steering committee of the German/American Provenance Research Exchange Program for Museum Professionals (2017–19).


Jane Milosch
, Director, Smithsonian Provenance Research Initiative; Moderator

Jane Milosch is founding director of the Smithsonian Provenance Research Initiative, overseeing WWII-era provenance research projects and advising on international cultural heritage projects, provenance, and training programs. Before this, she directed pan-institutional art programs and led new interdisciplinary initiatives and strategic planning efforts at the Smithsonian’s eight art units. She was Chief Curator at the Renwick Gallery, Smithsonian American Art Museum, and Curator at the Cedar Rapids Museum of Art. Milosch’s connections to Germany are long-standing, with Rotary and Fulbright Fellowships, and as project director with Prestel Publishing. Her experience as the U.S. representative to Germany’s international “Schwabing Art Trove” Task Force led to the program idea for the German/American Provenance Research Exchange for Museum Professionals (PREP), 2017-19.

 

Victoria Reed, Sadler Curator for Provenance, Museum of Fine Arts, Boston

Victoria Reed has been conducting provenance research at the Museum of Fine Arts, Boston, since 2003. She is responsible for the research and documentation of the provenance of the MFA’s encyclopedic collection.  She has overseen the resolution of several ownership claims for the Museum, and has lectured and published extensively on provenance.  She earned her BA in liberal arts at Sarah Lawrence College, and her MA and PhD in art history from Rutgers University.

 

 

Laurie Stein, President, L. Stein Art Research LLC, Chicago

Laurie A. Stein is a specialist in World War II-Era provenance research as well as in 20th century German art, design and architecture. She has been curator at the Art Institute of Chicago, the Saint Louis Art Museum, and the Werkbund-Archiv in Berlin.  Friday, March 9, 2018She was Founding Director of the Pulitzer Foundation for the Arts and Midwest Director for Christie’s before establishing L. Stein Art Research, LLC in 2005. Since 2007, she has been Senior Advisor for the Provenance Research Initiative at the Smithsonian Institution. Stein has been provenance consultant to numerous institutions and individuals, including Yale University, MoMA, Guggenheim, the Metropolitan Museum, the Art Institute of Chicago, and the Foundation E.G. Buehrle Collection in Zurich. She helped establish the German Working Group for Provenance Research, and researched for the Swiss government’s Bergier Commission and for the Gurlitt Art Trove in Germany.


 

 

AAMC Provenance Webinar Series: Going Beyond WWII-era Research

Live Webinar


Tuesday, June 19, 2018

12:00pm - 1:15pm ET

Description

For our second webinar in the series, we will expand our discussion beyond our initial conversation with a particular focus to ancient, first nation, native american, and non-western works of art. What resources, tools and training are available? Does work on WWII-era objects provide a helpful model for researching in other areas? What are the key differences between them? What is the repatriation landscape within colonial legacies? Looking forward, what are the next steps in the research and accessibility of provenance for ancient, first nation, native american, and non-western objects?

 

Meet the Speakers
(listed alphabetically)

Kathleen Bickford Berzock, Associate Director of Curatorial Affairs, Block Museum of Art, Northwestern University

Kathleen Bickford Berzock is Associate Director of Curatorial Affairs at Northwestern University’s Block Museum of Art, where she guides an innovative exhibition and collecting program that presents art across time, place, culture, and medium and engages with relevant issues of our time. Prior to her work at the Block Museum, Berzock was curator of African art at the Art Institute of Chicago (1995–2013) and research assistant for African Art at the Metropolitan Museum of Art (1993–1995). She is co-editor of the book Representing Africa in American Art Museums: A Century of Collecting and Display (2010, University of Washington Press). She received her PhD from Indiana University.  

 

 

Patricia (Trish) Capone, Curator and Director of Research and Repatriation, Peabody Museum of Archaeology and Ethnology (NAGPRA)

Patricia Capone joined the staff of the Peabody Museum, Harvard in 1995.  As Curator and Director of Research and Repatriation, Patricia focuses on museum anthropology, North American historical archaeology, repatriation and collaborative methodologies.  As Lecturer in the Department of Anthropology, she co-directs the Harvard Yard Archaeology Project with Dr. Diana Loren. She serves as Past-President on the Board of the Council of Museum Anthropology within the American Anthropological Association. Her article Amending Wonder: Museums and Twenty Years of the Native American Graves Protection and Repatriation Act (2013), considers museums’ history, and contemporary scholarly and public partnerships. 


 
Tom Hardwick
, Consulting Curator of Egyptology, Museum of Natural Science, Houston

Tom Hardwick an Egyptologist and curator, and has worked and lived in the UK, USA, and Egypt. Hardwick studied Egyptology and Classics at Oxford, and specializes in pharaonic Egyptian material culture and its histories - in particular, sculpture, iconography, and the history of collecting and forging Egyptian objects. Hardwick has written and lectured on the collecting and dealing ambiences in Egypt and the west in the 19th and 20th centuries, and has recently organized an exhibition, Adventures in Egypt: Mrs Goodison & Friends, on 19th century travelers and collectors - the first of its kind in the UK.


MacKenzie Mallon, Specialist, Provenance, The Nelson Atkins Museum of Art; Moderator

MacKenzie Mallon is Specialist, Provenance at The Nelson-Atkins Museum of Art, where she coordinates provenance research, documentation and review in conjunction with the curatorial departments. MacKenzie holds a BA in History and MA in Art History from the University of Missouri-Columbia. Her primary research interests include World War II-era provenance, the early 20th-century art market, and the development of American museum collections.

 

 

J. Keith Wilson, Curator of Ancient Chinese Art, Freer Gallery of Art and Arthur M. Sackler Gallery

A specialist in Chinese antiquities, Wilson recently completed the reinstallation of four galleries dedicated to early Chinese art in the Freer (2017). At the same time, he opened the exhibition Resound, which explores ancient Chinese music with dozens of Bronze Age bells in the Sackler collection. Previously, he co-organized Echoes of the Past: The Buddhist Cave Temples of Xiangtangshan, a major traveling exhibition dedicated to late sixth-century devotional sculpture in context. Wilson has recently published the first volume of a digital catalogue dedicated to the peerless collection of ancient jades in the Freer and Sackler; the second volume, which features 225 early Bronze Age examples, will appear this spring. After serving as a Mellon Fellow at the Metropolitan, he was appointed curator at the Cleveland Museum of Art and, later, the Los Angeles County Museum of Art; he joined the Freer|Sackler in 2006. 

 

AAMC Provenance Webinar Series: Sharing Research, Asking New Questions

Live Webinar


Tuesday, June 26, 2018

12:00pm - 1:15pm ET

Description

Building on the first two seminars, the final installment will consider the future. As more and more archives are digitized, what new avenues of research are available? As work progresses on individual collections, how can institutions collaborate?  What kind of information can be mined from ‘big data’. At the same time, how might curators present the results of their research to the public? What methods are effective for disseminating provenance information online, in the galleries and in the classroom?

 

Meet the Speakers
(listed alphabetically)

Jodi Cranston, Professor in the Department of History of Art and Architecture at Boston University

Jodi Cranston, Professor in the Department of History of Art and Architecture at Boston University, is the author of The Poetics of Portraiture in the Italian Renaissance and The Muddied Mirror: Materiality and Facture in Titian’s Later PaintingsGreen Worlds of Renaissance Venice (in press), and editor and contributor to Venetian Painting Matters, 1450-1750.  She recently received a Kress Foundation digital grant to develop Mapping Paintings, a mapping platform for users to visualize the provenance of any painting, drawing, or print.  This project builds on her first digital project, Mapping Titian.

 


 

Christine Howald, Research Area Art Market and Provenance, Technische Universität Berlin

Christine, who holds a PhD in history, is a specialist in the European market and provenance for East Asian art. She is researcher and lecturer at the chair of Bénédicte Savoy at Technische Universität Berlin where she also coordinates the research area Art Market and Provenance. Her current work focuses on the development of the German market for East Asian art between 1860 and 1945 and Yuanmingyuan loot in German museum collections. Since 2016, she also has been an associated researcher at the Berlin Museum für Asiatische Kunst with a provenance research project on selected museum acquisitions.   

 

 
Nancy Caron Karrels
, Doctoral Candidate and Illinois Distinguished Fellow, University of Illinois, Urbana-Champaign; Curator, Provenance: A Forensic History of Art, Krannert Art Museum, University of Illinois, Urbana-Champaign

Nancy is a doctoral candidate in Art History and an Illinois Distinguished Fellow at the University of Illinois, Urbana-Champaign. She is curator of the exhibition Provenance: A Forensic History of Art at Krannert Art Museum at the University of Illinois. She has worked as a provenance researcher with the Canadian Holocaust-Era Research Project and contributed to provenance research efforts at Krannert Art Museum, the Museum of Fine Arts, Boston, and the Herbert F. Johnson Museum of Art at Cornell University. She holds degrees in Common Law and Civil Law. 


David Newbury, formerly Lead Developer, Art Tracks at Carnegie Museum of Art, now Enterprise Software Architect, Information Systems, J. Paul Getty Trust

David Newbury is the Enterprise Software & Data Architect at the J. Paul Getty Trust, where he works with museum professionals, researchers, scientists and technologists on to find solutions to technical and scholarly problems. David has also worked on Art Tracks, a provenance project at the Carnegie Museum of Art, and the American Art Collaborative, working with 14 museums on standardizing models and software around Linked Data. David has also worked with organizations like Carnegie Mellon University, the University of British Columbia, University of Illinois, and PBS.


David Saunders, Associate Curator, Department of Antiquities, J. Paul Getty Museum; Moderator

David Saunders is Associate Curator of Antiquities at the J. Paul Getty Museum. Since joining the museum in 2008, he has curated seven exhibitions, and is currently preparing The House of Hades: Depicting the Ancient Underworld. He obtained his doctorate in Classical Archaeology from Oxford University, and his current research interests include Greek and South Italian vase-painting, ancient bronzes and the history of collecting and restoring antiquities. He is co-editor of The Restoration of Ancient Bronzes: Naples and Beyond (2013); Dangerous Perfection: Ancient Funerary Vases from Southern Italy (2016); and the conference volume Collecting and Collectors from Antiquity to Modernity (2018).

  

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