Research Forum Spring Term 2014
Caroline Villers Research Fellowship Lecture
How our Visual Brains Interpret Painted Lines
Tuesday, 4 February 2014
18.00, Research Forum South Room
Josef Albers, Study for Homage to the Square, 1957 (detail)
Speaker(s): Dr Pia Gottschaller (Caroline Villers Research Fellow 2012-13)
Ticket/entry details: Open to all, free admission
Organised by: Professor Aviva Burnstock
The lecture will present the results of a psychophysical test that was conducted as the final part of the Caroline Villers Research Fellowship 2012-13. The test examines how so-called experts as opposed to non-experts perceive differences of lines painted by artists with and without the use of masking tape in works of art. Select examples will illustrate the considerable impact of these fine distinctions on our reading of geometric abstract paintings.
Pia Gottschaller took a BA in art history at Ludwig-Maximilians-Universität in Munich and trained at The Courtauld Institute of Art to become a painting conservator (Dip 1997), then worked at the Harvard University Art Museums, Cambridge, and at The Menil Collection, Houston. She received her PhD in 2003 from Technische Universität München for a thesis on the painting technique of Blinky Palermo. Subsequently, she held the position of Associate Conservator at the Whitney Museum of American Art in New York, was a Postdoctoral Research Fellow at Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte in Rome, and Assistant Fine Arts Director at the German Academy Villa Massimo, Rome. Other work experiences include freelance curatorial work for museums and private collections. She is currently Painting Conservator at Tate Modern. Her research interests focus on issues of technical art history, in particular with regard to postwar and contemporary European and American artistic practices. Among her publications are monographs on Blinky Palermo and Lucio Fontana, as well as essays on Max Beckmann, Mark Rothko, Donald Judd, David Reed, Italian postwar artists, Minimalism and developments in contemporary art conservation.