DALLAS, TX.- The Dallas Museum of Art has announced two key curatorial appointments: the promotion of Interim Chief Curator Dr. Nicole R. Myers to the inaugural position of Chief Curatorial and Research Officer, and the hiring of Anabelle Gambert-Jouan as the Lillian and James H. Clark Assistant Curator of European Art. These appointments bolster the Museum’s exceptional curatorial, conservation, and research programs, as well as its European Art department, which spans painting and sculpture from Greco-Roman antiquity through mid-20th-century modernism.

Myers has served as the DMA’s Interim Chief Curator since June 2021, and has held curatorial roles within the Museum’s European Art department since 2016, most recently as the Barbara Thomas Lemmon Senior Curator of European Art, a position she will continue to hold. In her new role as Chief Curatorial and Research Officer, Myers will oversee the Curatorial, Conservation, and Library and Archives departments and direct the research and archiving aspects of the Museum’s operations. Myers will provide active leadership in building, presenting, caring for and conserving the Museum’s collections, in addition to supporting the development of the Museum’s robust exhibition program, scholarship and related endeavors.

Gambert-Jouan, a specialist in the arts of medieval Europe, joins the Museum following a fellowship at the Yale Center for British Art, and is currently completing her Ph.D. in History of Art at Yale University. As the Lillian and James H. Clark Assistant Curator of European Art under the direction of Dr. Myers, she will oversee the research, exhibition program, and collection development of the DMA’s historic European painting and sculpture from Greco-Roman antiquity to 1700, with a focus on the Museum’s early modern holdings. She begins her new role at the DMA today, March 6, 2023.

“As the DMA continues to grow, the need for strong curatorial leadership is paramount, so we could not be more thrilled to officially name Nicole as our Chief Curatorial and Research Officer. Since joining the DMA, she has proven to be an exceptional leader, and her curatorial and scholarly achievements have already contributed greatly to the legacy of this institution and the museum field at large,” said Dr. Agustín Arteaga, The Eugene McDermott Director of the Dallas Museum of Art. “Additionally, combining our research, conservation and curatorial teams in this new department led by Nicole reflects the DMA’s commitment to collecting, preserving and sharing its global holdings of artwork with our local community and beyond in exhibitions and publications that are as visually compelling as they are intellectually rigorous.”

“It is a true honor to lead the DMA’s outstanding curatorial and research teams in the development of meaningful collections, displays and scholarship that resonate with audiences today and into the future. I could not be more excited to begin this new chapter in such an important moment in the Museum’s history,” said Dr. Myers. “Moreover, I am elated to welcome Anabelle to our European Art team.

Anabelle brings with her deep scholarship in medieval art as well as a fresh perspective on the DMA’s early modern collection, an area we are excited to grow.”

Dr. Nicole R. Myers

Myers, a specialist of French painting, joined the DMA in 2016 and has curated numerous nationally and internationally acclaimed exhibitions, most recently Van Gogh and the Olive Groves, co-organized with the Van Gogh Museum in Amsterdam (2021-2022); Cubism in Color: The Still Lifes of Juan Gris, co- organized with the Baltimore Museum of Art (2021); and Berthe Morisot, Woman Impressionist, co- organized with the Musée national des beaux-arts du Québec (Québec City, Canada), the Barnes Foundation (Philadelphia, PA) and the Musée d’Orsay (Paris, France) (2018-2019).

During her tenure at the DMA, Myers has also curated several exhibitions drawn primarily from the Museum’s permanent collection, including Women Artists in Europe from the Monarchy to Modernism (2018-2019), and An Enduring Legacy: The Eugene and Margaret McDermott Collection of Impressionist and Modern Art (2018-2019), dedicated to the single largest benefactors in the Museum’s history. Additionally, she has overseen a range of significant acquisitions for the Museum’s collection, including Adélaïde Labille-Guiard’s Portrait of a Man (c. 1795) through the Michael L. Rosenberg Foundation; Eva Gonzales’s Afternoon Tea (c. 1874) and Emile Bernard’s The Salon (1890) through The Eugene and Margaret McDermott Art Fund, Inc.; Louis Anquetin’s Woman at her Toilette (1889) and Thomas Gainsborough’s The Cottage Door (c. 1785) through the Foundation for the Arts; and Derick Baegert’s The Descent from the Cross (c. 1480-1490) and Luca Giordano’s The Triumph of Galatea (c. 1675) courtesy of the Marguerite and Robert Hoffman Fund.

Prior to joining the DMA, Myers served as the Associate Curator of European Painting and Sculpture at the Nelson-Atkins Museum of Art and held curatorial positions at the Metropolitan Museum of Art, Museum of Fine Arts, Boston, and Saint Louis Art Museum. Myers completed her MA and PhD in Art History at the Institute of Fine Arts of New York University with a dissertation on Gustave Courbet’s Realist nudes, and her BA in Art History and Archaeology and French at Washington University in St. Louis, where she graduated summa cum laude and Phi Beta Kappa.

Anabelle Gambert-Jouan

Originally from Paris, France, Gambert-Jouan is a specialist of the arts of medieval Europe with a focus on sculpture between 1200 and 1500. Prior to her appointment to the DMA, she was a fellow at the Yale Center for British Art, where she researched the provenance of its paintings collection, and has worked in curatorial departments at the Yale University Art Gallery and the Metropolitan Museum of Art. She is completing her PhD in History of Art at Yale University, writing a dissertation on the architectural, artistic, and religious environments of polychrome wood sculptures, primarily in Italy and Iberia.

Gambert-Jouan holds a BA in History of Art from the Courtauld Institute of Art, an MSt in History of Art and Visual Culture from the University of Oxford, and an MPhil in History of Art from Yale University. Her research on polychrome wood sculpture has been supported by the Medieval Academy of America, the Society of Architectural Historians, and the Casa de Velázquez in Madrid, among others.