Pia Gottschaller - The Courtauld Institute of Art

Pia Gottschaller

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Dr Pia Gottschaller

Senior Lecturer, Conservation & Technology

Pia Gottschaller is a specialist in modern and contemporary art, with a particular focus on issues of technical art history in postwar European, North American and Latin American painting practice. Pia holds a BA in art history from Ludwig-Maximilians-Universität in 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 & Technology Department as Senior Lecturer in 2017, Pia was a Senior Research Specialist in the Science Department of the Getty Conservation Institute, Los Angeles. Prior appointments included positions as paintings conservator, art historian, curator and collections manager at institutions such as the Tate, London, the Whitney Museum of American Art, New York, The Menil Collection, Houston, Harvard Art Museums, Cambridge MA, Pinakothek der Moderne, Munich, and Villa Massimo, Rome. She was also a Postdoc Research Fellow at Bibliotheca Hertziana, Max-Planck-Gesellschaft für Kunstgeschichte, Rome, and Caroline Villers Research Fellow in Technical Art History at The Courtauld, as well as a guest lecturer at various European and North American universities.

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, “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. 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. She has also published books and essays on the artistic process of Blinky Palermo and Lucio Fontana, as well as essays on Mark Rothko, Max Beckmann, Italian postwar art, Conceptual and Minimal Art, various contemporary painters and contemporary art conservation.

Teaching

  • The PG Diploma in the Conservation of Easel Paintings
  • Painting Practices of Modern and Contemporary Artists
  • Painting Pairs: Art History and Technical Study
  • Physical History of Works of Art (BA)
  • Research Skills
  • Cleaning Controversies
  • Optics
  • Materials for Consolidation

Research interests

  • Technical Art History
  • Modern and Contemporary Painting Practice in Europe, North America and Latin America   
  • Neuroaesthetics 

Recent publications

Books:

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

Book Author and Co-Editor:

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

M. Semff, C. Thierolf, A. Klar with P. Gottschaller and B. Heid (eds.), Der Raum der Linie. Amerikanische Zeichnungen und Skulpturen ab 1960, exh. cat. Staatliche Graphische Sammlung/Pinakothek der Moderne, München 2011

Book/Exhibition Catalogue Chapters:

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)

Papers in Journals, Conference Proceedings etc.:

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, Pre-prints of the XIV. Congress of the Norwegian Conservation Association of the International Institute for Conservation (IIC-N), Oslo 1997, 99-113

Blogs:

Night Vision: Notes on Seeing Concrete Art Under Ultraviolet Light

http://blogs.getty.edu/iris/author/pgottschaller

Visión Nocturna: ver arte Concreto bajo luz ultravioleta        

http://www.coleccioncisneros.org/es/editorial/cite-site-sights/visi%C3%B3n-nocturna                                     

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