Exhibition | Power Couples: The Pendant Format
Barthel Bruyn the Younger, Portrait of a Gentleman and Portrait of a Lady, ca. 1555–65, oil on panel (Salt Lake City: Utah Museum of Fine Arts, University of Utah).
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Opening in July at UMFA:
Power Couples: The Pendant Format in Art
Utah Museum of Fine Arts, University of Utah, Salt Lake City, 11 July — 8 December 2019
Curated by Leslie Anderson
Power Couples: The Pendant Format in Art considers how two interdependent works, called ‘pendants’, convey meaning. The study of this popular format reveals a variety of artistic strategies at play—desires to communicate social hierarchy, gender roles, racial issues, complementary ideas, the passage of time, the continuity of space, and the appearance of truth in art.
Drawn from the UMFA’s rich collection and strengthened with select loans, the expansive exhibition will display works conceived as pairs in European, American, and regional art from the fifteenth century until the present day. Artists on view include Barthel Bruyn the Younger, Dirck Hals, Peeter Neefs the Elder, Gabriel and Augustin de Saint-Aubin, Gilbert Stuart, Edmonia Lewis, Robert Rauschenberg, Lorna Simpson, Nina Katchadourian, Kerry James Marshall, and Roni Horn. Leslie Anderson, curator of European, American, and regional art, organized this exhibition for the UMFA.
Despite its prevalence across time periods and cultures, the pendant, unlike its hinged predecessor the diptych, has never before been the subject of a comprehensive exhibition.
Call for Papers | Power Couples: The Pendant Format
Symposium | Power Couples: The Pendant Format in Art
Utah Museum of Fine Arts, University of Utah, Salt Lake City, 4 October 2019
Organized by Leslie Anderson
Proposals due by 15 June 2019
The Utah Museum of Fine Arts at the University of Utah will host an interdisciplinary symposium to coincide with the upcoming special exhibition Power Couples: The Pendant Format in Art (11 July — 8 December 2019), which will examine ideas imparted by two interdependent works (called pendants) from the fifteenth century until the present day. Papers that consider works conceived as pairs in the visual arts, literature, and music are invited, and new research related to pairs in other disciplines is encouraged. What are the artistic strategies at play in the creation of companion pieces? How do the format and display (or experience) of pendants communicate meaning?
Advanced graduate students, as well as established and emerging scholars, are invited to apply. Please submit an abstract of 250–300 words and a CV to both leslie.anderson@umfa.utah.edu and iris.moulton@umfa.utah.edu by 15 June 2019. Selected participants will be notified on or before 15 July 2019.
This symposium is organized by Leslie Anderson, Curator of European, American, and Regional Art, and Iris Moulton, Coordinator of Campus Engagement, at the Utah Museum of Fine Arts, University of Utah.
Keynote Speaker
Wendy N. E. Ikemoto is Associate Curator of American Art at the New-York Historical Society. She served as organizing curator for Rockwell, Roosevelt & the Four Freedoms (2018), Betye Saar: Keepin’ It Clean (2018–19), Bettina von Zwehl: Meditations in an Emergency (2018–19), and Augusta Savage: Renaissance Woman (2019), and as curator for Panoramic Perspectives (2019–20). She is planning an upcoming exhibition on the American romantic artist John Quidor. Prior to joining the New-York Historical Society, Ikemoto worked in academia at The Courtauld Institute of Art in London and Vassar College in New York and in secondary education at a school for Native Hawaiian students. She holds a BA in Art History from Stanford University and an AM and PhD in the History of Art and Architecture from Harvard University. Her publications include Antebellum American Pendant Paintings: New Ways of Looking (Routledge, 2017) and articles in American Art and The Burlington Magazine.
Conference | The Artistic Taste of Nations, 1550–1815
From the Vrije Universiteit Amsterdam:
The Artistic Taste of Nations: Contesting Geographies of European Art, 1550–1815
Vrije Universiteit Amsterdam, 13–15 June 2019
Organized by Ingrid Vermeulen and Huigen Leeflang
The school of art is a fundamental art-historical concept. When it emerged in the early modern period, it was variously used to indicate academies, the style of art works and local, regional, or national taste. As such it gave rise to an artistic geography, which was debated in the context of academies, art literature, markets, and collections all over Europe. This conference aims to address the vitality as well as the pitfalls of the concept of school for the geography of European art.
T H U R S D A Y , 1 3 J U N E 2 0 1 9
12.00 Registration
12.30 Welcome by Gert-Jan Burgers (director research institute CLUE+) and Ingrid Vermeulen (Vrije Universiteit)
13.00 Academies of Art and Artistic Nations
Moderator: Arno Witte (KNIR Rome/ Universiteit van Amsterdam)
• Susanne Kubersky-Piredda (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte Rome), Notions of Nationhood and Artistic Identity in 17th-Century Rome
• Maria Onori (Sapienza Università di Roma), Spanish Artists and the Academies: Places of Belonging in the Second Half of the 17th Century in Rome
• Ludovica Cappelletti (Politecnico di Milano), Shaping Architecture: The Case of the Regia Accademia di Pittura, Scultura e Architettura in Mantua
14.45 Break
15.15 Drawings, Connoisseurship, and Geography
Moderator: Klazina Botke (Vrije Universiteit)
• Simonetta Prosperi Valenti Rodinò (Università di Roma ‘Tor Vergata’), Father Sebastiano Resta (1635–1714) and the Italian Schools of Design
• Federica Mancini (Musée du Louvre), Connoisseurship beyond Geography: Some Puzzling Drawings from Filippo Baldinucci’s Personal Collection
• Sarah W. Mallory (Harvard University), Arthur Pond’s Prints in Imitations of Drawings: Connoisseurship and the National School in Early 18th-Century Britain
17.00 Drinks reception
F R I D A Y , 1 4 J U N E 2 0 1 9
9.00 Registration
9.30 The Taste and Genius of Nations
Moderator: Marije Osnabrugge (Université de Genève)
• Ingrid Vermeulen (Vrije Universiteit), The ‘Taste of Nations’: Roger de Piles’s Diplomatic Views on European Art
• Pascal Griener (Université de Neuchâtel), How Do Great Geniuses Appear in a Nation? A Historiographical Problem for the Enlightenment Period
10.40 Break
11.10 Print Collecting and School Formation
Moderator: Huigen Leeflang (Rijksmuseum)
• Gaëtane Maës (Université de Lille), Between Theory and Practice: Dezallier d’Argenville’s Idea on Print Collections
• Véronique Meyer (Université de Poitiers), Des Notices générales au Manuel du Curieux: Michael Huber et l’Ecole française de gravure (From Notices Générales to Manuel du Curieux: Michael Huber and the French School of Printmaking)
• Stephan Brakensiek (Universität Trier), Chronology and School: Questioning Two Competing Criteria for the Classification of Graphic Collections around 1800
13.00 Lunch break
14.00 Transnational Identities
Moderator: TBA
• Elisabeth Oy-Marra (Johannes Gutenberg Universität Mainz), Towards the Construction of an Italian School: The Transformative Power of Place in Bellori’s Lives
• Marije Osnabrugge (Université de Genève), Claimed by All or Too Elusive to Include: The Place of Mobile Artists in Artist Biographies and the Local Canon
• Ewa Manikowska (Polish Academy of Sciences Warsaw), The Galeriewerk and the Self-Fashioning of Artists at the Dresden Court
15.45 Break
16.15 Practices of Classification
Moderator: Ingrid Vermeulen (Vrije Universiteit)
• Everhard Korthals Altes (Technische Universiteit Delft), The Dutch and Flemish Schools of Painting in 18th-Century Art Literature, Auction Catalogues, and Collections: Together or Apart?
• Huigen Leeflang (Rijksmuseum), Pieter Cornelis van Leyden’s Collections of Prints and Paintings: Content, Organization, and Schools
• Irina Emelianova (Accademia di Architettura di Mendrisio (Ch), «In the school of the Netherlands I joined two schools, Flemish and Holandaise, I even added some German painters»: The Problem of European Artistic Schools in the Context of the Russian Enlightenment
18.30 Conference dinner for speakers and moderators at the Botanical Gardens, Vrije Universiteit
S A T U R D A Y , 1 5 J U N E 2 0 1 9
9.00 Registration
9.30 Schools Going Public: The Picture Gallery
Moderator: Everhard Korthals Altes (Technische Universiteit Delft)
• Cécilia Hurley (École du Louvre/ Université de Neuchâtel), In Search of a Higher Order: The Organisation of the Munich Hofgartengalerie at the End of the 18th Century
• Christine Godfroy-Gallardo (HICSA Université Paris I – Sorbonne), An Organisation by Schools Considered Too Commercial for the Newly Founded Louvre Museum
• Pier Paolo Racioppi (Fondazione IES Abroad Italy Rome), The ‘Louvre Effect’: The New Arrangement of the Vatican Pinacoteca and Guattani’s Catalogue I più celebri quadri delle diverse scuole italiane (1820)
11.15 Break
11.30 Panel discussion and closing remarks
Enfilade 
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