Podcast appearances and mentions of Anne T Woollett

Episode No. 537 is a holiday weekend clips episode featuring curators Erin Christovale and Anne T. Woollett. Christovale discusses the retrospective “Ulysses Jenkins: Without Your Interpretation,” which is at the Hammer Museum in Los Angeles through May 15. Christovale co-curated the exhibition with Meg Onli. Jenkins is an influential video and performance artist whose work has examined how cultural iconography and history have informed representation. The exhibition catalogue was published by the hammer and the ICA Philadelphia, which debuted the show last year. Indiebound and Amazon offer it for about $40. The museums will also republish Jenkins's memoir, “Doggerel Life: Stories of a Los Angeles Griot.” Amazon and Indiebound offer it for $15. With Austėja Mackelaitė and John T. McQuillen, Woollett is a co-curator of “Hans Holbein: Capturing Character,” which is at the Morgan Library & Museum, New York, through May 15, 2022. The exhibition presents Hans Holbein the Younger as German but transnational, and situates his portraiture between not only influential court figures, but the leading intellectuals of contemporary Switzerland and England. Remarkably, it is the first major Holbein exhibition in the US. Co-organized with the J. Paul Getty Museum, Los Angeles, “Holbein” features over 50 objects including 33 Holbein paintings and drawings. The excellent exhibition catalogue was published by the Getty. Amazon offers it for about $50.

Episode No. 531 features artist Beverly Semmes and curator Jeffrey Spier. Beverly Semmes is included in "Witch Hunt," an exhibition that presents how 16 women artists have used feminist, queer, and decolonial strategies to explore gender, power, and the global impacts of patriarchy. It is on view across two venues, the Hammer Museum and the Institute of Contemporary Art, Los Angeles through January 9. On January 9, the JOAN exhibition space in downtown Los Angeles was scheduled to host "Pool," a performance and installation developed as a collaboration between Jennifer Minniti and Semmes' CarWash Collective and Emily Mast. It has been postponed due to the pandemic. The performance will feature a new collection of CarWash garments based on Semmes' Feminist Responsibility Project. In New York, Susan Inglett Gallery will show new work from Semmes beginning February 3. Semmes's multi-disciplinary work explores the body and its representation. Her work has been the subject of solo shows at the Henry Art Gallery at the University of Washington, the Tang Teaching Museum and Art Gallery at Skidmore College, the Irish Museum of Modern Art in Dublin, and more. On the second segment, Spier discusses "Rubens: Picturing Antiquity," a Getty Villa exhibition that looks at how Rubens's work was informed by classical antiquity. It was curated by Anne T. Woollett, Davide Gasparotto, and Spier. It is on view through January 24. The excellent catalogue for the exhibition was published by the Getty. Amazon and Indiebound offer it for $40. Instagram: Beverly Semmes, Tyler Green.

"I think it just shows very well how Rubens worked, how he got the inspiration from antiquity, but he transforms it into something completely new and very alive." The Flemish Baroque painter Peter Paul Rubens is most famous for his dynamic, colorful renderings of religious scenes and mythological stories. Yet Rubens's work was also deeply inspired by the art of the past. He was a keen student of classical antiquity, engaging with ancient sculptures, coins, gems, and cameos both at home and in his travels through Italy. His friendships with antiquarians, patrons, and scholars provided a network for vibrant intellectual exchanges that informed the artist's work. In this episode, Getty curators Anne T. Woollett, Davide Gasparotto, and Jeffrey Spier discuss their exhibition Rubens: Picturing Antiquity, which explores how Rubens was affected by and, in turn, transformed the classical past in his paintings, drawings, and designs. The exhibition, which received major support from Jo Carole and Ronald S. Lauder and generous support from the Leonetti/O'Connell Family Foundation, is on view at the Getty Villa through January 24, 2022. For images, transcripts, and more, visit https://blogs.getty.edu/iris/podcast-peter-paul-rubens-and-the-arts-of-antiquity or http://www.getty.edu/podcasts/ More to explore: Explore the exhibition Rubens: Picturing Antiquity here: https://www.getty.edu/art/exhibitions/rubens_antiquity/explore.html Buy the book Rubens: Picturing Antiquity here: https://shop.getty.edu/products/rubens-picturing-antiquity-978-1606066706

Episode No. 523 features curators Anne T. Woollett and Shannon Vittoria. With Austėja Mackelaitė and John T. McQuillen, Woollett is a co-curator of "Hans Holbein: Capturing Character in the Renaissance" at the J. Paul Getty Museum through January 9, 2022. The exhibition presents Hans Holbein the Younger as German but transnational, and situates his portraiture between not only influential court figures, but the leading intellectuals of contemporary Switzerland and England. Remarkably, it is the first major Holbein exhibition in the US. Co-organized with the Morgan Library & Museum, New York, "Holbein" features over 50 objects including 33 Holbein paintings and drawings.  Along with Elizabeth Kornhauser, Vittoria is the co-curator of "Jules Tavernier and the Elem Pomo." Vittoria wrote the essay on the Elem Pomo work included in the exhibition for The Met Bulletin that functions as the show's catalogue. It's at the Met through November 28.

Anne T. Woollett, Curator, J. Paul Getty MuseumSat, December 9, 2017By 1640, after nearly a decade of extraordinary achievement as a portrait and history painter in Amsterdam, Rembrandt rose to fame and prosperity. Self Portrait at the Age of 34 (London, National Gallery), in which Rembrandt portrays himself in the rich accoutrements of fur and velvet, has often been seen as an index to the master’s status at that time. Anne Woollett examines the ways in which this painting, with its references to Renaissance portraits from both north and south of the Alps, is not only one of the most beautiful of Rembrandt’s many self-portraits but also one of his most sophisticated exercises in self-fashioning.