Caroline Olivia M. Wolf
Wolf's teaching and research focuses on art and architecture from a global perspective, with emphasis on Latin America, the Middle East and Islamic world, and diasporic South-South connections. Her work has been supported by the Fulbright-Hays DDRA fellowship, the Society of Architectural Historians (SAH) SAHARA award, the National Endowment for the Humanities, the Brown Foundation, Wagoner Foreign Study Scholarship, and the Lodieska Stockbridge Vaughn Fellowship. Wolf has also served as the Camfield Fellow in the Latin American collection at the Museum of Fine Arts, Houston (MFAH) in 2013-2014, and selected as a Visiting Scholar at the Calouste Gulbenkian Museum for May 2019. Her research has been featured in Latin American and LatinX Visual Culture (LALVC), Hemisphere: Visual Cultures of the Americas and the Routledge Encyclopedia of Modernism, among other publications, and has been published in English, Spanish and Turkish. Her current book project focuses on the art and architectural patronage of Arabic-speaking diaspora (mahjar) communities in modern Argentina as a response to transatlantic discourses and migration. Prior to receiving her doctorate at Rice, Wolf received her MA in the History of Art at Indiana University and BFA from the University of Notre Dame.
Supervisors: Dr. Fabiola Lopez-Duran, co-advisor (Rice University, Houston, Texas, USA), Dr. Shirine Hamadeh, co-advisor (Koç University, Istanbul, Turkey), Dr. Maria Isabel Baldasarre, doctoral thesis commitee (Universidad Nacional de San Martín–IDAES, Buenos Aires, Argentina), and Dr. Luis Duno-Gottberg, doctoral thesis commitee (Rice University, Houston, Texas, USA)
Supervisors: Dr. Fabiola Lopez-Duran, co-advisor (Rice University, Houston, Texas, USA), Dr. Shirine Hamadeh, co-advisor (Koç University, Istanbul, Turkey), Dr. Maria Isabel Baldasarre, doctoral thesis commitee (Universidad Nacional de San Martín–IDAES, Buenos Aires, Argentina), and Dr. Luis Duno-Gottberg, doctoral thesis commitee (Rice University, Houston, Texas, USA)
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Peer Reviewed Book Chapters & Articles by Caroline Olivia M. Wolf
relatively underexplored in art historical scholarship, largely due to the
complex transnational nature of her creative production between Latin
America, the Levant, and beyond. By closely examining the creative
trajectory of this twentieth-century diasporic painter and the critical
reception surrounding her work through texts housed in the Espigas
repository, Zogbé emerges as a uniquely positioned global artistic agent in
the crafting of modernism. An early 1934 exhibition catalog featuring Zogbé
at the Galerías Witcomb of Buenos Aires—a key document reproduced
here from the abovementioned repository (Fig. 1)—allows an analysis of the
distinct modes in which the artist was initially positioned before the broader
public and the transnational dimensions infused within her body of work.
Shifts in the critical discourse and reception of the artist in the following
decades are revealed via a brief comparison with a later catalog dedicated
to Zogbé from 1937, also held in the Espigas repository. By surveying these
texts, the multifaceted artistic trajectories of Zogbé between her adopted
country and the “old country,” as well as the layered identities negotiated
between local and global imaginaries, are revealed.
Academic Blog Articles by Caroline Olivia M. Wolf
Article published online at:
http://www.sah.org/about-sah/sah-news/2013/09/10/sahara-travel-fellow-report---isolated-monsters-neocolonial-architecture-in-buenos-aires-argentina
Conference Publications by Caroline Olivia M. Wolf
de monumentos centenarios apadrinados por inmigrantes del medio oriente en el cono sur. Se presenta como caso de estudio el Monumento Amizade Sírio Libanesa de San Pablo, Brasil.
Exhibit Reviews by Caroline Olivia M. Wolf
“Migraciones (en el) arte contemporaneo / Migrations (in) Contemporary Art.” Centro de Arte Contemporáneo. Museo de la Universidad Nacional Tres de Febrero (MUNTREF), Centro de Arte Contemporaneo, Hotel de Inmigrantes. October 1, 2015 – December 31, 2015. Currently online as a virtual exhibition.
A recent exhibit organized in the heart of Buenos Aires, Migraciones (en el) arte contemporaneo boldly tangles with discourses of immigration via contemporary art. The show, curated by Diana Wechsler with the support of MUNTREF Rector Aníbal Jozami, brought together an oeuvre of twenty-two artists from over a dozen countries. These works engage intimately with issues of identity, itinerancy, alienation, and belonging in mediums ranging from found objects and photography to video and sound installations. Emerging amidst the Syrian refugee crisis, the exhibit can be seen as one of a series of curatorial efforts tackling the topic of border crossings throughout Latin America in 2015. The exhibit must be understood as holding particular resonance in Argentina, a country historically recognized for its open-door immigration policies during key moments of mass migration.
Book Reviews by Caroline Olivia M. Wolf
Exhibition Texts by Caroline Olivia M. Wolf
robustly shaped modern and contemporary art on an international scale, in addition to leaving a vibrant imprint on Houston itself. Autonomía del color (Color Autonomy) reflects Cruz-Diez’s long-standing relationship with Sicardi Gallery in the commission and production of a myriad of works and exhibitions since 2003. The show celebrates the artist’s groundbreaking experimentation with color as an independent phenomenon and agent, uniquely perceived by each spectator in time and space.
Conference Presentations by Caroline Olivia M. Wolf
relatively underexplored in art historical scholarship, largely due to the
complex transnational nature of her creative production between Latin
America, the Levant, and beyond. By closely examining the creative
trajectory of this twentieth-century diasporic painter and the critical
reception surrounding her work through texts housed in the Espigas
repository, Zogbé emerges as a uniquely positioned global artistic agent in
the crafting of modernism. An early 1934 exhibition catalog featuring Zogbé
at the Galerías Witcomb of Buenos Aires—a key document reproduced
here from the abovementioned repository (Fig. 1)—allows an analysis of the
distinct modes in which the artist was initially positioned before the broader
public and the transnational dimensions infused within her body of work.
Shifts in the critical discourse and reception of the artist in the following
decades are revealed via a brief comparison with a later catalog dedicated
to Zogbé from 1937, also held in the Espigas repository. By surveying these
texts, the multifaceted artistic trajectories of Zogbé between her adopted
country and the “old country,” as well as the layered identities negotiated
between local and global imaginaries, are revealed.
Article published online at:
http://www.sah.org/about-sah/sah-news/2013/09/10/sahara-travel-fellow-report---isolated-monsters-neocolonial-architecture-in-buenos-aires-argentina
de monumentos centenarios apadrinados por inmigrantes del medio oriente en el cono sur. Se presenta como caso de estudio el Monumento Amizade Sírio Libanesa de San Pablo, Brasil.
“Migraciones (en el) arte contemporaneo / Migrations (in) Contemporary Art.” Centro de Arte Contemporáneo. Museo de la Universidad Nacional Tres de Febrero (MUNTREF), Centro de Arte Contemporaneo, Hotel de Inmigrantes. October 1, 2015 – December 31, 2015. Currently online as a virtual exhibition.
A recent exhibit organized in the heart of Buenos Aires, Migraciones (en el) arte contemporaneo boldly tangles with discourses of immigration via contemporary art. The show, curated by Diana Wechsler with the support of MUNTREF Rector Aníbal Jozami, brought together an oeuvre of twenty-two artists from over a dozen countries. These works engage intimately with issues of identity, itinerancy, alienation, and belonging in mediums ranging from found objects and photography to video and sound installations. Emerging amidst the Syrian refugee crisis, the exhibit can be seen as one of a series of curatorial efforts tackling the topic of border crossings throughout Latin America in 2015. The exhibit must be understood as holding particular resonance in Argentina, a country historically recognized for its open-door immigration policies during key moments of mass migration.
robustly shaped modern and contemporary art on an international scale, in addition to leaving a vibrant imprint on Houston itself. Autonomía del color (Color Autonomy) reflects Cruz-Diez’s long-standing relationship with Sicardi Gallery in the commission and production of a myriad of works and exhibitions since 2003. The show celebrates the artist’s groundbreaking experimentation with color as an independent phenomenon and agent, uniquely perceived by each spectator in time and space.
The short form video lecture on this topic can be viewed online via the Khamseen site at: https://sites.lsa.umich.edu/khamseen/short-form-videos/2020/monumental-mosques-in-latin-america-key-modern-and-contemporary-case-studies/
Bloomington, Indiana
Due to the impressive response to the call for presentations, the symposium featured two full panels, with responses from Dr. Olivia Wolf and Dr. Stephen Mandravelis of the University of Tennessee at Chattanooga.
A video created by Chelsey Paige for UTC ReSEARCH Dialogues about this project also available at: https://www.youtube.com/watch?v=9BhwrDeVpqE&t=1s
While the collection is of great importance to the University and a terrific teacher of ancient cultures, the George and Louise Patten Collection of Salem Hyde Cultural Artifacts provides opportunity for critical analysis regarding provenance and material culture, bringing forth conversations surrounding ownership and cultural appropriation. Images from Hyde’s travels throughout Latin America and compelling interviews with scholars make sense of the artifacts appropriated by Hyde in 1969, and help us interpret their significance from a post-colonial perspective that seeks to acknowledge, respect, and credit the original creators."
– UTC ReSEARCH Dialogues, 2020 (Accessed April 2021 at https://symposium.foragerone.com/utcrd21/presentations/17047).
This ReSEARCH Dialogues video created by Chelsey Paige for this project also available at: https://www.youtube.com/watch?v=9BhwrDeVpqE&t=1s
By examining the wide array of Pre-Columbian objects in the George and Louise Patten Salem Hyde Papers and Cultural Artifacts Collection, these students formed small research groups dedicated to specific artifact types, such as human figurines , animal figurines , tools and lithics , vessels , anthropomorphic ceramics , replicas , and sherds . They carefully recorded their original observations of their selected objects of study in written field notes, photographs, and drawings. Later, they compared their initial observations with preliminary collection data developed independently by Archaeology students of Dr. Andrew Workinger, leading to further questions and insights surrounding these extraordinary pieces predominantly from pre-contact indigenous cultures of the Central and Intermediate regions of Latin America that today comprise Costa Rica, Ecuador, Panama and Colombia. Building upon their analysis, the Art History student research groups then re-examined their selected artifacts through analytical frameworks focused on Gender and the Body , Pattern and Materiality , Spirituality and the Object , Form and Function , and Identity and Representation . In presenting their findings to their peers, students received feedback that allowed them to refine their analysis and develop the original individual and group catalog essays that comprise this exhibition publication. Their research sheds further light on the extraordinary value and diversity of the ancient artifacts of Latin America that uniquely form part of UTC’s Special Collections, as well as the innovative power of interdisciplinary research and collaboration. [...]
This publication is also available on UTC Scholar, at: https://scholar.utc.edu/exhibition-records/5/