exhibition design

Posted in Architecture and Design, Behind the Scenes, Exhibitions and Installations, Getty Villa

Career Profile: Davina Wolter, Designer

Davina Wolter, setting up The Belles Heures of the Duke of Berry exhibition.

What do you do at the Getty? I’m a designer. My work includes graphics, or 2-D design, as well as 3-D design-such as furniture, interiors, and architectural drawing. Our department, Design, is unique for a cultural institution because we create… More»

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Posted in Behind the Scenes, Exhibitions and Installations, Prints and Drawings, Sculpture and Decorative Arts

Seven Things I Learned from “Leonardo da Vinci and the Art of Sculpture”

Banners for Leonardo da Vinci and the Art of Sculpture: Inspiration and Invention at the Getty Center

Now that the Leonardo exhibition has closed, as co-curator—along with Anne-Lise Desmas, associate curator in the Department of Sculpture and the Decorative Arts—I can take stock of some of the things I’ve learned. I’m sad to see the exhibition go,… More»

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Posted in Antiquities, Behind the Scenes, Exhibitions and Installations, Getty Villa

Curating The Aztec Pantheon

Tzitzimitl (Demon), Aztec, 1440–69, found near the Templo Mayor, Mexico City. Terracotta, stucco, and pigment, 176 x 80 x 50 cm. Museo del Templo Mayor, Mexico City. CONACULTA-INAH-MEX © foto zabé. Reproduction authorized by the National Institute of Anthropology and History
Tzitzimitl (Demon), Aztec, 1440–69, found near the Templo Mayor, Mexico City. Terracotta, stucco, and pigment, 176 x 80 x 50 cm. Museo del Templo Mayor, Mexico City. CONACULTA-INAH-MEX © foto zabé. Reproduction authorized by the National Institute of Anthropology and History

The premise of The Aztec Pantheon and the Art of Empire is a unique one: that just as classical antiquity colored Spanish perceptions of Mesoamerica, the experience of Aztec civilization piqued curiosity about Renaissance Europe’s own ancient heritage. As curators,… More»

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Posted in Exhibitions and Installations, Getty Research Institute

Think Local, Exhibit Global—Research Institute Exhibitions on the Move

Installation view of Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan, 1950-1970 at the University of Michigan Museum of Art. Photo: Randy Stegmeyer

Off the tram, up the stairs and take a sharp right before going into the main entrance pavilion. Head into the building across from the Cafe. That’s where you’ll usually find the distinctive exhibitions of the Getty Research Institute (GRI)…. More»

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      #ProvenancePeek: Shark Attack!

      Every art object has a story—not only of how it was made, but of how it changed hands over time until it found its current home. That story is provenance.

      This dynamic painting of a 1749 shark attack in Havana, Cuba, by John Singleton Copley was too good to paint only once. The original hangs at the National Gallery of Art in Washington, D.C. A second full-sized version of the painting, which Copley created for himself, was inherited by his son and eventually gifted to the Museum of Fine Arts, Boston.

      The third version (shown here) is slightly reduced in size, with a more vertical composition. It resides in the Detroit Institute of Arts.

      A quick peek into the digitized stock and sales books of art dealer M. Knoedler & Co. at the Getty Research Institute shows the sale of Copley’s masterpiece. It was entered under stock number A3531 in July 1946 and noted as being sold to the Gallery by Robert Lebel, a French writer and art expert. The Knoedler clerk also carefully records the dimensions of the painting—30 ¼ x 36 inches, unframed.

      On the right side of the sales page you’ll find the purchaser listed as none other than the Detroit Institute of Arts. The corresponding sales book page gives the address: Woodward Ave, Detroit, Mich., still the location of the museum.

      Watson and the Shark, 1782, John Singleton Copley. Detroit Institute of Arts

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      #ProvenancePeek is a monthly series by research assistant Kelly Davis peeking into #onthisday provenance finds from the M. Knoedler & Co. archives at the Getty Research Institute.

      02/10/16

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