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Dr Pia Gottschaller FRSA is a technical art historian with a specialisation in modern and contemporary painting practice. She holds a BA in art history from Ludwig-Maximilians-Universität, Munich (1994), a Postgraduate Diploma in the Conservation of Easel Paintings from The Courtauld (1997), and a PhD in art technology from Technische Universität München (2004). In 2022-23, she will start to teach a new MA Special Option in Art History, "Painters at Work: Material Reinventions of a Medium, 1945 to Now."
From 2015 to 2017, Pia was a Senior Research Specialist in the Science Department of the Getty Conservation Institute, Los Angeles, where she led the technical-art historical study “Concrete Art in Argentina and Brazil,” a collaborative research project with the Getty Research Institute and Argentine as well as Brazilian partner institutions. She also co-curated the resulting exhibition at the Getty Center in 2017-18, “Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros,” and co-edited and wrote both for the exhibition catalogue and the recently published book "Purity is a Myth: The Materiality of Concrete Art from Argentina, Brazil, and Uruguay." She has worked as a paintings conservator at the Tate, London (2013-14), the Whitney Museum of American Art, New York (2003-05), The Menil Collection, Houston TX (1998-2000), and at the Harvard Art Museums, Cambridge MA (1997-98). Her curatorial and research experiences include collection management for two private collections in Europe, as well as appointments/grants as a Getty Conservation Guest Scholar (2021), Caroline Villers Research Fellow in Technical Art History at The Courtauld (2012-13), Associate Curator at Pinakothek der Moderne, Munich (2011-12), Assistant Fine Arts Director at the German Academy Villa Massimo in Rome (2009-2010), and Postdoc Research Fellow at Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte, Rome (2005-2007).
Her publications explore the relationship between an artist’s subject, materials, and methods, for which she often relies on interviewing artists. Recent essays and current research focus on the artistic practices of Jay DeFeo, Louise Nevelson, and the time period from 1945 to 1948 in Argentina and Venezuela. She is the author of monographs on Blinky Palermo and Lucio Fontana, the co-editor and author of books on North American sculpture and drawing from the 1960s as well as Latin American art, and she has written essays on the painting practices of a variety of contemporary European, North and South American artists. A new book project for Getty Publications examines the role of tools in contemporary painting and will include artists from Argentina, Brazil, China, France, Germany, Guyana, Hungary, Iran, Italy, Japan, Korea, Mexico, Nigeria, Spain, Ukraine, the US, and Zimbabwe.
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Research output: Chapter in Book/Report/Conference proceeding › Chapter (peer-reviewed) › peer-review
Research output: Chapter in Book/Report/Conference proceeding › Chapter