Dr Pia GottschallerSenior Lecturer, Conservation
Pia Gottschaller is a specialist in modern and contemporary art, with a focus on issues of technical art history in postwar painting practice. Pia holds a BA in art history from Ludwig-Maximilians-Universität, Munich, a Postgraduate Diploma in the Conservation of Easel Paintings from The Courtauld, and a PhD in art technology from Technische Universität München.
Before joining the Conservation Department as Senior Lecturer, Pia was a Senior Research Specialist in the Science Department of the Getty Conservation Institute, Los Angeles. Prior appointments included positions as paintings conservator at the Tate, London, the Whitney Museum of American Art, New York, and at the Harvard Art Museums, Cambridge MA. As an Andrew W. Mellon Fellow at The Menil Collection in Houston, she conserved the Rothko Chapel paintings with the museum’s chief conservator, Carol Mancusi-Ungaro. She was also an Associate Curator at Pinakothek der Moderne, Munich, and Assistant Fine Arts Director at the German Academy Villa Massimo in Rome. From 2005-7, she was a Postdoc Research Fellow at Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte, Rome, and in 2012-13 a Caroline Villers Research Fellow in Technical Art History at the Courtauld.
Pia’s research interests are informed by the variety of her work experiences in different cultural contexts and disciplines. In her publications she explores the meaningful relationship between an artist’s subject, materials and methods, for which she often relies on interviewing artists. Most recently at the Getty, she led the GCI’s technical 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 J. Paul Getty Museum in 2017-18, “Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros,” co-edited and wrote for the exhibition catalogue, and will be contributor and co-editor of a forthcoming scholarly volume on the subject.
More recent essays examine the development of geometric abstraction and its readings in relation to neuroscience and painterly choices made by modern and contemporary artists, in particular since the invention of self-adhesive tape in the 1930s; the subject of temporality and transience in contemporary painting; and the artistic practice of Cheyney Thompson. She is the author of monographs on Blinky Palermo and Lucio Fontana, the editor of books on North American sculpture and drawing from the 1960s as well as Latin American Concrete art, and has written essays on Mark Rothko, Italian postwar art, Conceptual and Minimal Art, and a variety of other contemporary painters. Current research interests are the work of Jay DeFeo and the role of tools in contemporary painting. Pia will be a Getty Conservation Guest Scholar in 2020/21 and on sabbatical from January to June 2021.
Pia welcomes PhD applications from candidates interested in pursuing research in painting practices by modern and contemporary artists.
- Technical Art History
- Modern and Contemporary Painting Practice
Lucio Fontana: The Artist’s Materials, J. P. Getty Trust Publications, Los Angeles 2012
The Act of Creating Space: Lucio Fontana, Technische Universität München, Anton Siegl Verlag, München 2008
Palermo: Inside His Images, Technische Universität München, Anton Siegl Verlag, München 2004
Purity Is a Myth: The Materiality of Concrete Art from Argentina, Brazil, and Uruguay, Z. Gilbert, P. Gottschaller, T. Learner and A. Perchuk (eds.), J. Paul Getty Trust Publications, Los Angeles 2021 (forthcoming)
P. Gottschaller, A. Le Blanc, Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros, P. Gottschaller, A. Le Blanc, Z. Gilbert, T. Learner, A. Perchuk (eds.), exh. cat. J. Paul Getty Trust Publications, Los Angeles 2017
Der Raum der Linie. Amerikanische Zeichnungen und Skulpturen ab 1960, M. Semff, C. Thierolf, A. Klar with P. Gottschaller and B. Heid (eds.), exh. cat. Staatliche Graphische Sammlung/Pinakothek der Moderne, München 2011
Book/Exhibition Catalogue Chapters:
P. Gottschaller, T. Learner and J. Mazurek, “Hermelindo Fiaminghi’s Quadrature of the Circle between 1954 and 1959: From Concrete Enamel to Giotto’s Tempera,” in: Purity Is a Myth: The Materiality of Concrete Art from Argentina, Brazil, and Uruguay, ibid.
I. Alonso, P. Gottschaller, C. C. Marsh, A. Perchuk and L. Lee, “Energy, Legibility, Purity: Color in Argentine Concrete Art,” in: Purity Is a Myth: The Materiality of Concrete Art from Argentina, Brazil, and Uruguay, ibid.
“The Migration of Concretist Thought between Latin America and Europe: Max Bill, Kázmér Fejér, Tomás Maldonado and Georges Vantongerloo,” in: Migrants: Art, Artists, Materials and Ideas Crossing Borders, L. Wrapson, V. Sutcliffe, S. Woodcock and S. Bucklow (eds.), Archetype Publications in association with the Hamilton Kerr Institute, University of Cambridge, London 2019, 44-58
“Looking through the Glass, and What Fontana Found There,” in: Lucio Fontana: On The Threshold, I. Candela (ed.), exh. cat. The Metropolitan Museum of Art, New York 2019, 67-73
“Making Concrete Art,” in: P. Gottschaller, A. Le Blanc, Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros, P. Gottschaller, A. Le Blanc, Z. Gilbert, T. Learner, A. Perchuk (eds.), exh. cat. J. Paul Getty Trust Publications, Los Angeles 2017, 24-59
And Then Again. A conversation between Pia Gottschaller and Dan Sturgis in his studio, exh. cat. Noshowspace, London 2014
“Strange Things Can Happen—David Reed in conversation with Pia Gottschaller,” in: Heart of Glass. David Reed—Gemälde und Zeichnungen 1967-2012, exh. cat. Kunstmuseum Bonn, S. Berg and C. Schreier (eds.), Snoeck, Köln 2012, 60-68 (English), 89-112 (German)
“Tabula Rasa 1967,” in: Der Raum der Linie. Amerikanische Zeichnungen und Skulpturen ab 1960, exh. cat. Staatliche Graphische Sammlung/Pinakothek der Moderne, M. Semff, C. Thierolf, A. Klar with P. Gottschaller and B. Heid (eds.), München 2011, 29-35
“Gespräch mit dem Künstler Peter Soriano,” ibid, 14-18
“Gespräch mit dem Sammler,” ibid, 42-45
“Il mito del Vinavil,” in: Il confine evanescente. Arte Italiana 1960-2010, G. Guercio and A. Mattirolo (eds.), Maxxi Museo Nazionale delle Arti del XXI Secolo, Roma, Mondadori Electa, Milano 2010, 309-341
“The Rothko Chapel: Towards the Infinite,” in: Art and Activism: Projects of John and Dominique de Menil, J. Helfenstein and L. Schipsi (eds.), The Menil Collection/Yale University Press, Houston and New Haven 2010, 139-147
“The Diversity of One,” in: Palermo. To the People of New York City, L. Cooke and K. Kelly (eds.), Dia Art Foundation, New York, and Richter Verlag, Düsseldorf 2009, 132-143 (English/German)
“‘Vagaries and Uncertainties’ in Rothko’s painting process,” in: Rothko/Giotto, exh. cat. Gemäldegalerie Staatliche Museen zu Berlin, S. Weppelmann and G. Wolf (eds.), Hirmer, München 2009, 153-168 (English/German)
“New York Conversations about Blinky,” in: Palermo, exh. cat. Kunsthalle Düsseldorf and Kunstverein für die Rheinlande und Westfalen, S. Küper (ed.), DuMont, Köln 2007, 131-147 (English/German)
“From Ruler to Tape: Stops and Starts in the History of Painted Abstraction,” in: Getty Research Journal, vol. 10, The University of Chicago Press, Chicago 2018, 149-166
“Linking Neuroscience and a Psychophysical Test on Line Perception to the Use of Self-adhesive Tape in Contemporary Painting,” in: El Anuario del Instituto de Investigaciones sobre Patrimonio Cultural, Universidad Nacional de San Martín, Buenos Aires 2017, TAREA, 4 (4), 34-58
“Dig, slash and stitch: contemporary artists and their substrates,” in: Bright Light, Living the Substrate, vol. 2, D. Dibosa (ed.), ual: University of the Arts London Camberwell, London 2014, 43-51
“Recent Trends and Developments in the Conservation of Contemporary Art,” in: Zeitschrift für Kunsttechnologie und Konservierung, vol. 2, Worms 2012, 352-362
P. Gottschaller, N. Khandekar, L. Lee, D. Kirby, “The evolution of Lucio Fontana’s painting materials,” in: Studies in Conservation, International Institute for Conservation (IIC), London 2012, vol. 57, 2, 76-91
N. Khandekar, E. Nagy, J. Miller, P. Gottschaller, C. Mancusi-Ungaro, “The Re-Restoration of Donald Judd’s ‘Untitled, 1965’,” in: Modern Paints Uncovered, Proceedings of the London Symposium, Tate and Getty Conservation Institute, London and Los Angeles 2007, 157-164
“Palermo at Work,” in: Modern Art, New Museums, Contributions to the Bilbao Congress, International Institute of Conservation (IIC), London 2004, 174-178
C. Mancusi-Ungaro, P. Gottschaller, “The Rothko Chapel: Reflectance, Reflection and Restoration,” in: Zeitschrift für Kunsttechnologie und Konservierung, vol. 2, Worms 2002, 215-224
“Max Beckmann’s Painting Process,” in: Pre-prints of the 24th Annual AGPIC Conference, University of Ontario 1998, 57-74
“Max Beckmann’s Painting Materials and Technique,” in: Harvard University Art Museums Review, vol. VII, no. 2, Cambridge MA 1998, 8-10
A. Phenix, P. Gottschaller, A. Burnstock, “Accelerated Ageing of Polymer Dispersions Artificially Aged,” in: Pre-prints of the XIV. Congress of the Norwegian Conservation Association of the International Institute for Conservation (IIC-N), Oslo 1997, 99-113
Night Vision: Notes on Seeing Concrete Art Under Ultraviolet Light
Visión Nocturna: ver arte Concreto bajo luz ultravioleta