Dr. Jones comes to the DMA from the University of Texas at Austin, where she was curator of the Art and Art History Collection, the cultural collections manager at the Texas Memorial Museum, and a lecturer on art and art history. She has also served as a lecturer at Southwestern University in Georgetown, Texas. Dr. Jones has extensive knowledge of pre-Columbian art and architecture, having conducted archaeological fieldwork and laboratory analysis in Peru over the past ten years. She received her bachelor of arts, with honors, in history; a master of arts in Latin American Studies; and her doctorate of philosophy in art and art history from the University of Texas at Austin.
“I am pleased to welcome Kimberly Jones to the Dallas Museum of Art and to add her to our curatorial team,” Anderson said. “Her education and experience make her well-suited to cultivate and showcase the DMA’s important collection of ancient American art, including pre-Columbian works from across Latin America, which are of international significance.”
Dr. Jones has contributed to various publications, including serving as co-editor and author of the introduction for The Art and Archaeology of the Moche: An Ancient Andean Society of the Peruvian North Coast, and contributing to the University of Texas Collections Book. She has served as a lecturer of both survey and specialized courses in Andean and Mesoamerican art and archaeology since obtaining her Ph.D. in 2010. Dr. Jones has also been an active part of archaeological field work projects in northern Peru since 2003.
“It is an honor and delight to have the opportunity to join such a dynamic and engaging staff at the Dallas Museum of Art,” said Kimberly Jones. “I genuinely look forward to being part of the vibrant community within and around this time-honored Dallas institution.”
Dr. Jones succeeds Carol Robbins, who in 2012 retired after forty-seven years of service to the DMA. At the Museum, Dr. Jones will work closely with the DMA’s curatorial staff, conduct research on the arts of ancient America collection of more than 3,400 works of art, make acquisitions, and collaborate on installations of the collection in galleries throughout the Museum.
Ancient American Art
The DMA’s collection of ancient American art spans 3,000 years and represents twelve countries. Highlights include ceramics from the southwestern United States; ceramics and stone sculpture from Mexico and Guatemala; gold from Panama, Colombia, and Peru; and textiles and ceramics from Peru.
2. SAINT LOUIS, MO.- Jason T. Busch will join the Saint Louis Art Museum as deputy director for curatorial affairs and museum programs, overseeing its curatorial, exhibitions and collections, and education and public programs divisions, the Museum announced today. He assumes his duties in October. Busch, 38, currently is chief curator and the Alan G. and Jane A. Lehman Curator of Decorative Arts and Design at the Carnegie Museum of Art in Pittsburgh. In that role, Busch curates the Carnegie’s decorative arts and design collections, as well as oversees its curatorial, conservation, registration, and art preparation and installation departments.
Busch will take a leadership position at the Museum at a transformative moment. The Saint Louis Art Museum last month opened its Sir David Chipperfield-designed East Building, an expansion that improves visitor amenities and increases public space by about 30 percent.
“I am honored to join the Saint Louis Art Museum as the institution embarks upon an auspicious chapter in its history with the opening of the acclaimed East Building,” Busch said. “The depth and
Museum Director Brent R. Benjamin said Busch’s appointment was the result of an international search.
“I am confident that, after years of expansion planning and construction, Jason’s leadership will help the Museum make the most of its new campus by sharpening our mission-driven focus of offering great art and educational opportunities to the people of St. Louis and the world.” Benjamin said.
Prior to joining the Carnegie, Busch was associate curator at the Minneapolis Institute of Arts, where he helped oversee its architecture, design, decorative arts, craft and sculpture collections. He also served as assistant curator of American decorative arts at the Wadsworth Atheneum Museum of Art in Hartford, Conn.
Busch has lectured and published extensively, and has organized numerous installations and exhibitions, notably Inventing the Modern World: Decorative Arts at the World’s Fairs, 1851-1939, which currently is on view at the New Orleans Museum of Art. Fittingly, Busch will work at a campus that includes the Cass Gilbert-designed Main Building, originally built as the Palace of Fine Arts for the 1904 Louisiana Purchase Exposition.
While in Minneapolis, he organized Currents of Change: Art and Life Along the Mississippi River, 1850-1861, an exhibition that featured several important loans from the Saint Louis Art Museum, including The Panorama of the Monumental Grandeur of the Mississippi Valley. Busch also was the project director for the installation of the Grand Salon from the Hotel Gaillard de La Bouëxière (Paris, about 1735), which included the supervision of nearly two years of conservation work undertaken in France and the solicitation of some $700,000 in private and foundation funds in support of the project. Coincidentally, the Minneapolis room originates in the same Parisian mansion as the Saint Louis Art Museum’s Cabinet, which is installed on Level 1 of the Main Building.
Busch holds an undergraduate degree in American Studies from Miami University in Oxford, Ohio, where he graduated magna cum laude. He holds both his graduate degree and a certificate in Museum Studies from the Winterthur Program in Early American Culture at the University of Delaware in Newark, Del. Busch recently completed the fellowship program of the Center for Curatorial Leadership in New York City.
breadth of the collection, as well as the high level of talent and scholarship of museum staff, is indeed impressive. I look forward to working with my colleagues in further shaping national and international collaborations, developing new audiences, and enhancing the reputation of one of America's greatest comprehensive art museums.”
During his six-year tenure at the Fred Jones Jr. Museum of Art, d’Humières has doubled attendance, led a successful $15 million capital campaign and spearheaded the development and management of the Museum’s new 20,000 square-foot Stuart wing, which doubled the Museum’s exhibition space. D’Humières also created a privately funded program to implement new educational and outreach initiatives which included underprivileged visitors. He supervised more than 40 exhibitions and oversaw the production of numerous exhibition catalogs and museum publications while also expanding the Museum’s educational programs and collaborations with other museums, communities and national and international organizations.
“Ghislain has a proven track record of success as a director, curator and fundraiser at leading museums across the country,” said Allan Latts, Chair of the Speed Art Museum’s Board of Trustees. “His essential role in the opening and logistical organization of the $320 million, 290,000 square foot de Young project at the Fine Art Museum of San Francisco, was one of many contributing factors leading to the search committee’s decision to hire Ghislain. He also initiated innovative partnerships with the University of Oklahoma and its stakeholders that broadened the Museum’s reach throughout the community, which speaks to his understanding of the collective impact these relationships play in the overall development of a community.”
“I am honored and thrilled to have been selected as the incoming Director of the Speed Art Museum,” d’Humières said. “With its outstanding collection spanning more than 6,000 years of history, and a new multi-phase master plan now underway, the Speed is establishing itself as a major player in the national and international art world, and is charting the course for museums for the future. I look forward to working with the Board of Trustees, the staff, the people of Louisville and the state of Kentucky to continue the Speed’s role as a leader in the museum field.”
Todd Lowe, Chair of the Speed’s search committee, said, “Ghislain is a seasoned museum executive who was a natural choice to lead the Speed into its exciting next phase. He brings experience as an international leader and scholar with a vision for the future role that the Speed will play in our community. We are thrilled to welcome Ghislain to Louisville and look forward to the Museum’s continued growth under his leadership.”
Ghislain’s 11 years of for-profit and private sector work at Sotheby’s and Christie’s have instilled a strong approach to business management and fiscal responsibility. Additionally, his expertise in 18th and 19th century decorative European arts, as well as his international connections, especially in Europe, South America and Asia, will serve as an asset to the Speed as staff begins to plan future exhibitions and new acquisitions. During his tenure at the Fred Jones Jr. Museum of Art, d’Humières also expanded his experience in Western and Native American art and emphasized the importance of contemporary art and new media.
A compassionate leader, d’Humières spent a year as a volunteer for the Association Casa Alianza helping homeless children in Guatemala, performing educational, research and fundraising activities, prior to his work at the Fine Art Museum in San Francisco. Upon his return, he created a foundation to continue supporting Guatemalan children.
A native of France, d’Humières holds a DEA in History and License of Art History from the University of Paris I Pantheon Sorbonne, and a Master of History from the University of Paris X Nanterre. D’Humières speaks fluent French, English and Spanish.
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