Emerging Scholar Prize Archive

HGSCEA Emerging Scholars Prizewinners

2019 Winners

Aaron Hyman, “The Habsburg Re-Making of the East at Schloss Schönbrunn, ‘or Things Equally Absurd’,” in The Art Bulletin vol. 101, no. 4 (2019): 39-69.

Honorable Mentions:

Hannah Shaw, “The Trouble with the Censorship of August Sander’s Antlitz der Zeit,” in PhotoResearcher no. 31 (2019): 193-206.

Kristin Schroeder, “A New Objectivity: Fashionable Surfaces in Lotte Laserstein’s New Woman Pictures,” in The Art Bulletin. vol. 101, no. 4 (2019): 95-116.


Gregory Bryda, “The Exuding Wood of the Cross at Isenheim” in The Art Bulletin vol,100, no. 2 (June 2018): 6-36.

Honorable mention:

Anne. Reimers, “Inscribing Temporality, Containing Fashion: Otto Dix’s Portrait Of The Dancer Anita Berber Recontextualized”. Art History vol. 41, no. 4 (September 2018): 680-709.


Kerry Greaves, “Thirteen Artists in a Tent: Avant-Garde Exhibition Practice in World War II Denmark.” Dada/Surrealism 21, no. 1 (2017): 1-23.

Tomasz Grusiecki, “Foreign as Native: Baltic Amber in Florence.” World Art 7, no. 1 (2017): 3-36.

Honorable mention:

Morgan Ng, “Toward a Cultural Ecology of Architectural Glass in Early Modern Northern Europe,” Art History 40, no. 3 (2017): 496-525.


Shira Brisman, “Relay and Delay: Dürer’s Triumphal Chariots in the Era of the Post,” Art History vol. 39, no. 3 (June 2016): 436-65

Honorable Mention:

Michael Sanchez, “A Logistical Inversion: From Konrad Lueg to Konrad Fischer,” Grey Room 63 (Spring 2016): 6-41


Priyanka Basu, “Between Preservation and Destruction: Bernd and Hilla Becher’s Archive of ‘Anonymous Sculpture,’ ” in Edinburgh German Yearbook 9: Archive and Memory in German-Language Literature and Culture, ed. Dora Osborne. Rochester, NY: Camden House, 2015, 23-43

Honorable Mention:

Joyce Tsai, “Lines of Sight: László Moholy-Nagy and the Optics of Military Surveillance,” Artforum 54:3 (November 2015): 272-78


Adam Jasienski, “A Savage Magnificence: Ottomanizing Fashion and the Politics of Display in Early Modern East-Central Europe,” Muqarnas: An Annual on the Visual Culture of the Islamic World, 31 (November 2014): 173-205

Honorable Mention:

Nina Amstutz, “Caspar David Friedrich and the Anatomy of Nature,” Art History vol. 37, no. 3 (June 2014): 454-81


Daniela Fabricius, “Who’s Afraid of Ludwig Hilberseimer? Spectrality and Space in the Groszstadt,” Journal of Architectural Education vol. 67 no. 1 (March 2013): 39-51

Honorable Mention:

Ittai Weinryb, “Living Matter: Materiality, Maker, and Ornament in the Middle Ages,” Gesta vol. 52, no. 2 (Fall 2013): 113-32


Pepper Stetler, “The Object, the Archive, and the Origins of Neue Sachlichkeit Photography,” History of Photography 35, no. 3 (August 2011): 281-95

Honorable Mentions:

Amy K. Hamlin, “The Conditions of Interpretation: A Reception History of The Synagogue by Max Beckmann,nonsite.org, Issue 7 (October 2012), n.p.

Shira Brisman, “Sternkraut: ‘The Word that Unlocks’ Dürer’s Self Portrait of 1493,” in Der frühe Dürer, ed. Thomas Eser and Daniel Hess. London: Thames & Hudson; Nuremberg: Germanisches Nationalmuseum, 2012, 194-207

emerging scholars prize


The annual HGSCEA Emerging Scholars Publication Prize is an award of $500 given to the author of a distinguished essay published the preceding year on any topic in the history of Scandinavian, German or Central European art, architecture, design, or visual culture.

2020 Winner

Aleksander Musiał, “Mentem mortalia tangunt – Fragments and Fetishes in Puławy Landscape Garden (1794-1831),” Oxford Art Journal, vol. 42, Issue 3, (December 2019) 355–372, https://doi.org/10.1093/oxartj/kcz020 (Published 2020)

Honorable Mention

Jordan Troeller (Universität Graz) for “Lucia Moholy’s Idle Hands,” in October vol 172 (Spring 2020): 68-108. https://doi.org/10.1162/octo_a_00393

Past Winner Archive

HGSCEA publications


Publications for the past five years are listed below.


Jenny Anger “Sonja Sekula and ‘Art of the Mentally Ill.’” American Art 35, no. 1 (2021): 94-113.

____.“Midcentury Multiplicity.” In A Future We Begin to Feel: Women Artists 1921-1971, edited by Emma Wippermann, 20-25. New York: Rosenberg and Co., 2021.

____.“Henryk Berlewi, Mechano-Facture, 1924.” In Engineer, Agitator, Constructor: The Artist Reinvented, 1918-1939: The Merrill C. Berman Collection, edited by Jodi Hauptman and Adrian Sudhalter, 146-51. New York: Museum of Modern Art, 2020.

Eva Forgacs “Cezanne and the Bauhaus”, in Judit Gesko, ed., Cezanne to Malevich. Arcadia to Abstraction, Museum of Fine Art, Budapest, 2021.

Elizabeth Otto “Leni Riefenstahl’s Nazi Neoclassicism: Olympia.” A Modernist Cinema: Film Art from 1914 to 1941. Ed. Scott W. Klein and Michael Valdez Moses. Oxford: Oxford University Press, 2021, 259–78.

____.“Sofie Korner: Die Pionieren” and “Lotte Rothschild: Ein Leben auf der Suche nach der Zukunft,” Vergessene Bauhaus-Frauen: Lebensschicksale in den 1930er und 1940er Jahren, ed. Anke Blümm and Patrick Rössler. Weimar: Klassik Stiftung Weimar & Universität Erfurt, 2021, 30–33, 70–75.

Sherwin Simmons ““Malerische Dichtungen”: Two Landscape Paintings of 1916 by Ernst Ludwig Kirchner”Zeitschrift für Kunstgeschichte, vol. 84, no. 3, 2021, pp. 379-407. https://doi.org/10.1515/ZKG-2021-3004

Andres Zervigon “The Timeless Imprint of Erna Lendvai-Dircksen’s Face of the German Race.” In Photography in the Third Reich: Art, Physiognomy and Propaganda, edited by Christopher Webster. Cambridge (UK): Open Book Publishers, January 2021.


Rosemarie Haag Bletter, “Mx. Gropius: Nonbinary Doings at the Bauhaus,” review of Jana Revedin’s Jeder Hier Nennt Mich Frau Bauaus: Das Leben der Ise Frank (Cologne: Dumont, 2018) in West 86th: A Journal of Decorative Arts, Design History, and Material Culture (vol. 26, no 2) Fall-Winter  2019, pp. 309-13. [expanded version of essay published in A Book for Mary, 2020].

____. “Strangers in a Strange Land: Bruno Taut and Charlotte Perriand as Design Consultants in Japan,” Book for Mary: Sixty on Seven [ Festschrift for Mary McLeod],  Irena Lehkozivova and Joan Ockman, eds. (Brno, Czech.: Quatro Print, 2020) 68-80.

____.”Strangers in a Strange Land: Bruno Taut and Charlotte Perriand as Design Consultants in Japan,” West 86th:A Journal of Decorative Arts, Design History, and Material Culture (27:2) Fall-Winter 2020 [published in 2021].

Elizabeth Cronin “Modern Children by Modern Women” in The New Women Behind the Camera, ed. Andrea Nelson (Washington, D.C.: National Gallery of Art, 2020), 115-125.

Elizabeth Cronin and Jessica Keister, “Polar Expeditions: A Photographic Landscape of Sameness?” in Proximity and Distance in Northern Landscape Photography: Contemporary Criticism, Curation and Practice, eds. Darcy White and Chris Goldie (Bielefeld: Transcript, 2020), 35-55.

Eva Forgacs “The New Aesthetic of the Late Nineteen Twenties. Reconsidering the Periodization of the Interwar Avant-Gardes,” Acta Historiae Artium, Vol. LXI, Budapest, Akadémiai Kiadó, 2020.

_____.”The Inconceivable Reality. Amateur Photography and Professional Painting”, Moritz Baßler, Ursula Frohne, David Ayers, Sascha Bru and Benedikt Hjartarson eds., Realisms of the Avant-Garde,Berlin, Boston, DeGruyter, 2020.

_____.“The Bauhaus Paradox. Creativity, freedom, and the lasting legacy of the Bauhaus in Hungary”, in Dora Hegyi, Zsuzsa Laszlo, eds.: Creativity Exercises: Emancipatory Pedagogies in Art and Beyond, Berlin: Sternberg Press, 2020.

Juliet Koss. “Liubov Popova, Production Clothing for Actor No. 7, 1922,” in Engineer, Agitator, Constructor: The Artist Reinvented, 1918-1939, ed. Jodi Hauptman and Adrian Sudhalter. New York: Museum of Modern Art exh. cat., 2020, 64-67. 

_______.“Red Flags,” invited response to “The Future of Avant-Garde Studies: A European Round Table, 2010” (with Wolfgang Asholt, Peter Bürger, Éva Forgács, Benedikt Hjartarson and Piotr Piotrowski, moderated by Hubert van den Berg), Journal of Avant-Garde Studies 1 (inaugural issue, July 2020).

Irena Kossowska “Reframing National Identity: Official Art Exhibitions on Tour in Central and Eastern Europe” in Terms. Proceedings of the 34th World Congress of Art History (eds. Shao Dazhen, Fan Di’an, LaoZhu (Zhu Qingsheng), Comité International d’Histoire de l’Art (CIHA), Central Academy of Fine Arts, Peking University, 15-19.09.2016, Beijing: The Commercial Press, 2020).

_______.“A Quest for a ‘New Man’: Bruno Schulz and Giorgio de Chirico” in the sixth volume of the series European Avant-Garde and Modernisms Studies titled Realisms of the Avant-Garde (eds. Moritz Baßler, Benedikt Hjartarson, Ursula Frohne, David Ayers and Sacha Bru, Berlin: De Gruyter 2020; DOI: https://doi.org/10.1515/9783110637533)

Rose-Carol Washton Long  “Is the Blaue Reiter Relevant for the Twenty-First Centruy? A Discussion of  Anarchism, Art, and Politics.” In The Blaue Reiter. Edited by Dorothy Price. Manchester: Manchester University Press, 2020: 15-33.

Megan R. Luke, “The Factotum of Industry: Max Klinger’s Beethoven,” kritische berichte 48, no. 3 (2020): 81–94.

Elizabeth Otto “ringl + pit and the Queer Art of Failure,” October 173 (Sept. 2020): 37–64. https://bit.ly/3m5sKq8 .

Andres Zervigon  “Photography, Truth, and the Radicalized Public Sphere in Weimar Germany.” In Photography and Its Publics, edited by Melissa Miles and Edward Welch. London: Bloomsbury, January 2020.

____.  “Is Photomontage Over?” Special issue of History of Photography coedited with Sabine Kriebel (University College Cork, Ireland). Zervigón’s article “The Photomontage Activity of Postmodernism” is published along with the coauthored introduction. January 2020.

____. “L’image prolétarienne entre agitation politique et sobriété réaliste. L’Arbeiter Illustrierte Zeitung et le mouvement photographique ouvrier allemand,” in special issue devoted to worker photography, Transbordeur Nr. 4 (2020): 38-49.

____. “Fünf Finger hat die Hand.” Essay on the John Heartfield poster of the same name for catalog accompanying the exhibition “Engineer, Agitator, Constructor – The Merrill C. Berman Collection at MoMA,” Museum of Modern Art, Spring 2020.

____. “Produktive Beziehungen. John Heartfield und Willi Münzenberg.”Essay for the catalog accompanying the exhibition Fotografie plus Dynamit. Zeitschnitt, curated & edited by Angela Lammert, Akademie der Künste, Berlin, March 2020, 38-45.


“Talking About the Bauhaus: Rosemarie Haag Bletter, Barry Bergdoll, and Mary McLeod,” Architectural Record, June 2019.

Kathryn Brush, “Carl Georg Heise and the USA: New Perspectives on the History of Harvard’s Germanic Museum and Lübeck’s Museum für Kunst- und Kulturgeschichte,” Marburger Jahrbuch für Kunstwissenschaft 45 (2018/19), pp. 7-60.

Jay A. Clarke, “Kollwitz, Gender, Biography, and Social Activism,” Käthe Kollwitz: Prints, Process, Politics, ed. Louis Marchesano (Getty Research Institute, 2019), 40-56.

Elizabeth Cronin, “Heimatfotografie in Tirol 1938-1945: Eine flexible Sicht der Dinge” in Zwischen Ideologie, Anpassung und Verfolgung: Kunst und Nationalsozialismus in Tirol (Innsbruck: Tiroler Landesmuseen, 2019), 252-261.

Eva Forgacs, “The International of the Square. Reception of the Russian Avant-Garde Abroad 1920s-1970s”, in Silvia Burini, ed.: Translations and Dialogues: The Reception of Russian Art Abroad, Europa Orientalis, No. 31, Salerno, 2019, pp. 207-216.

Susan Funkenstein, “Paul Klee and the New Woman Dancer: Gret Palucca, Karla Grosch, and the Gendering of Constructivism,” in Bauhaus Bodies, eds. Elizabeth Otto and Patrick Rössler. (New York: Bloomsbury Academic, 2019, 145-67)

Philip Goad, Ann Stephen, Andrew McNamara, Harriet Equist, Isabel Wünsche (ed.), BAUHAUS DIASPORA: Transforming Education through Art, Design and Architecture, Melbourne: Melbourne University Publishing; Sydney: Power Publications, 2019.

Tomasz Grusiecki, ‘Michał Boym, the Sum Xu, and the Reappearing Image’. Journal of Early Modern History 23, no. 2/3 (2019): 296–324.

Keith Holz, “Why defend Degenerate Art?” in Arte Degenerada – 80 Anos: Repercussões No Brasil. Edited by Helouise Lima Costa and Daniel Rincon Caires. Museu De Arte Contemporânea da Universidade de São Paulo, 2019, 47-65.

Rose-Carol Washton Long, “Dangerous Portraits? Lotte Jacobi’s Photos of Uzbek and Tajik Women,” Women’s Art Journal , fall/winter 2019, pp. 14-23.

Kristina Jõekalda A Socialist Realist History? Writing Art History in the Post-War Decades. Eds. Krista Kodres, Kristina Jõekalda, Michaela Marek. (Das östliche Europa. Kunst- und Kulturgeschichte 9.) Köln, Weimar, Wien: Böhlau Verlag, 2019, 280 pp

Kristina Jõekalda, “Monuments as a Responsibility: Baltic German Learned Societies and the Construction of Cultural Heritage around 1900.” Zeitschrift für Ostmitteleuropa-Forschung / Journal of East Central European Studies 2019, vol. 68, no. 2, pp. 189–222.

Sharon Jordan “He is a Bridge: The Importance of Friedrich Nietzsche for Ernst Ludwig Kirchner” essay in Jill Lloyd and Janis Staggs, editors, Ernst Ludwig Kirchner (New York: Neue Galerie and Prestel Verlag, 2019). Exhibition catalogue published in conjunction with the retrospective Ernst Ludwig Kirchner, on view at the Neue Galerie New York until mid-January 2020.

Marsha Morton, “Rudolf von Eitelberger and Leopold Carl Müller: Constructing a Genre of Viennese Orientalism” in Rudolf Eitelberger von Edelberg: Netzwerker der Kunstwelt, Eva Kernbauer, Kathrin Porkorny-Nagel,Raphael Rosenberg, Julia Rüdoger, Patrick Werkner, and Tanja Jenni, eds.., Vienna: Böhlau Verlag, 2019, pp. 291-312.

Eleanor Moseman “Navigating Partnership: German Surrealist Ellida Schargo von Alten, Richard Oelze, and Cross-Fertilization in the Visual Arts,” was published in Feminist German Studies 34 (2019): 75-100.

Dorothy Price and Camilla Smith (eds.) ‘Weimar’s Others: Art history, alterity and regionalism in inter war Germany’ Special Issue Art History 42.4 September 2019 (Wiley Blackwell)

Morgan Ridler, “Dörte Helm, Margaret Leiteritz, and Lou Scheper–Berkenkamp: Rare Women of the Bauhaus Wall-Painting Workshop,” In Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism’s Legendary Art School, edited by Elizabeth Otto and Patrick Rössler, (Bloomsbury Academic, 2019) 195-216.

________. “Paint it Red: The Squares, Cubes and Doors of the Bauhaus” Source: Notes in the History of Art (Spring 2019).

Sherwin Simmons, “Under the Flicker of Arc Light: Color in Ernst Ludwig Kirchner’s Paintings of Berlin, 1912-14.” Essay in exhibition catalogue Ernst
Ludwig Kirchner, ed. by Jill Lloyd and Janis Staggs, Neue Galerie, New
York City, October 3, 2019 – January 13, 2020, pp. 62-84.

Isabel Wünsche, “Terra incognita? Die erste australische Bauhaus-Ausstellung 1961 in Melbourne,” in Bauhaus ausstellen, ed. Franziska Bomski, Hellmut Th. Seemann and Thorsten Valk, Göttingen: Wallensteinverlag 2019 (Jahrbuch der Klassik Stiftung Weimar), 219-238.

_____. “die abstrakten hannover – utopian designs for a new world,” in Groups, Coteries, Circles and Guilds. Modernist Aesthetics and the Utopian Lure of Community, ed. Laura Scuriatti, Frankfurt Main: Peter Lang, 2019, 225-247.

Andres Zervigon “Photography Studies and Germany” in the feature “Forum: Visual Studies—The Art Historian’s View,” The German Quarterly 92.2 (Spring 2019), 266-268

Andres Zervigon “Ontology or Metaphor?” in Photography and Ontology: Unsettling Images, eds. Donna West Brett and Natalya Lusty (London: Routledge Books, 1919), 10-23.


Eric Anderson, “Dreams in Color: Sigmund Freud’s Decorative Encounters,” in Elana Shapira, ed., Design Dialogue: Jews, Culture and Viennese Modernism(Vienna: Böhlau, 2018), 161-178.

Jenny Anger. Four Metaphors of Modernism: From Der Sturm to the Société Anonyme (University of Minnesota Press 2018)

Deborah Ascher Barnstone, Elizabeth Otto, Art and Resistance in Germany (Bloomsbury Visual Arts, 2018)

Jean Marie Carey, “The Tempest and the Savages: Franz Marc, Hugo Ball, and a Decisive Moment in Expressionist-Dada Theater with a Special Appearance by August Macke” in The Empty Mirror (February 2018).

Elizabeth Cronin, “Paris 1937: Promoting Austria Abroad” Austriaca. Cahiers universitaires d’information sur l’Autriche no. 83 (Dec 2016), 103-116. (belatedly published in 2018)

Eva Forgacs, “Vajda az Európai avantgárdban és azon kívül” (Vajda in the European avant-garde and outside it) in György Petőcz, ed.: Vajda Lajos. Exhibition in the Ferenczy Cultural Center, Szentendre, 2018. Bilingual catalog.

________.”Suprematism: a Shortcut into the Future: the Reception of Malevich by Polish and Hungarian Artists during the Inter-War Period”, in Christina Lodder, ed., Celebrating Suprematism. New Approaches to the Art of Kazimir Malevich, London: Brill, 2018.

Tom Grusiecki ‘Uprooting Origins: Polish-Lithuanian Art and the Challenge of Pluralism’. In Globalizing East European Art Histories: Past and Present, ed. Beáta Hock and Anu Allas, 25–38. New York: Routledge, 2018.

Charles Haxthausen, “Handbook,” along with translation of Carl Einstein’s prospectus for his “Handbook of Art,” in: Neolithic Chidlhood: Art in a False Present, c. 1930, ed. Anselm Franke and Tom Holert, exh. cat. Berlin: Haus der Kulturen der Welt/ Diaphanes Verlag, 2018, 22–33, 129–131.

Keith Holz, “Questions of German-Bohemian Art and New Objectivity.” Opuscula historiae atrium 67, no. 2. Masaryk University, Brno, December 2018, 16-25.

Keith Holz, “The United States tour of 20th Century (Banned) German Art / Ausstellungstournee 20th Century (Banned) German Art durch die USA.” London 1938.  Martin Faass and Lucy Wasensteiner, eds. Berlin: Villa Max Liebermann and London: Wiener Library. Zurich: Nimbus Verlag, 2018, 214-233.

Keith Holz, “Not only biographies: a brief institutional history of German and Austrian exiled artist groups,” in INSIDERS/OUTSIDERS: Refugees from Nazi Europe and their Contribution to British Culture. Edited by Monica Bohm-Duchen. London: Lund Humphries, 2018, 214-225.

Rebecca Houze, “Emilie Bach (1840-1890): Education Reformer, Critic, and Art Embroiderer in the Era of Franz Joseph I.” In Design Dialog: Der jüdische Beitrag zur Wiener Moderne/ Design Dialogue: Jews, Culture and Viennese Modernism. Edited by Elana Shapira. Vienna: Böhlau Verlag, 2018.

Kristina Jõekalda, Cherished and Perished Monuments: Some 19th-Century Cases of Renovation in the Baltic Heimat. – Stephanie Herold, Anneli Randla, Ingrid Scheurmann (Eds.). Re-Nationalisierung oder Sharing Heritage? Wo steht die Denkmalpflege im europäischen Kulturerbejahr 2018. (Veröffentlichungen des Arbeitskreises Theorie und Lehre der Denkmalpflege e.V. 28.) Holzminden: Verlag Jörg Mitzkat / Heidelberg: arthistoricum.net, 2018, pp. 32-41.

Andrew McNamara, Ann Stephen, and Isabel Wünsche, “Refugees and émigrés to Australia, 1930-1950: Three cases of light, colour and material studies in the Antipodes under the shadow of fascism and war,” in Migration Processes and Artistic Practices in Wartime, Lisbon: Artistic Studies Research Centre (CIEBA), Faculdade de Belas-Artes da Universidade de Lisboa, 2018, 271-289.

Morgan Ridler “Hinnerk Scheper and Lou Scheper-Berkenkamp’s Architecture and Color: Bauhaus Wall Painting in the Soviet Union,” Translation and Introduction, West 86th: A Journal of Decorative Arts, Design History, and Material Culture, 25 no 1 (Spring–Summer 2018)

Sherwin Simmons, “’Notched with a Pocket Knife on a Table’s Edge’: George Grosz’s Answer to War Graphics, 1914-16,” in special (Dada, War and Peace) of Dada/Surrealism, no. 22 (2018). E-Journal at the University of Iowa

_______. “The Dancer’s Revenge: Dance/Pantomime and the Emergence of Ernst Ludwig Kirchner’s Fantasy Pictures, 1912-15,” Dance Chronicle. Studies in Dance and the Related Arts, Vol. 41, no. 2, (2018), pp. 121-57.

Joyce Tsai Laszlo Moholy-NagyPainting after Photography, (University of  California Press 2018)

Isabel Wünsche, The Routledge Companion to Expressionism in a Transnational Context,  (Routledge 2018)

_____.  “The Novembergruppe Writes Absolute Film History,” in Freedom: The Art of the Novembergruppe 1918-1935, exh. cat., Berlin: Berlinische Galerie, 2018, 168-175.

_____.  “’Der Absolute Film.’ Matinee der Novembergruppe und Ludwig Hirschfeld-Macks Reflektorische Farbenspiele,” in Novembergruppe 1918: Studien zu einer interdisziplinären Kunst für die Weimarer Republik, Münster: Waxmann, 2018 (Veröffentlichungen der Kurt-Weill-Gesellschaft Dessau Bd. 10), 169-180.

_____.  “Lebendigkeit und Unsterblichkeit in der Kunst der Organischen Schule der russischen Avantgarde,” INTERJEKTE 12, 2018, 25-32.


_____. “Von der Metaphysik zur Psychophysik: Reflexionen zum Wesen des künstlerischen Schaffensprozesses in den kunsttheoretischen Schriften von Nikolaj Kulbin und Wassily Kandinsky,” in Literatur und menschliches Wissen, ed. Helena Ulbrechtova, Frank Thomas Grub, Edgar Platen, and Siegfried Ulbrecht, Berlin: Kulturverlag Kadmos, 2018, 194-215.


Megan Brandow-Faller (Ed.) Childhood by Design: Toys and the Material Culture of Childhood, 1700-Present, (Bloomsbury 2017)

Carey, Jean Marie. “Affen in Eden” in Avenue, Vol. 4 (September 2017).

_____. “To Never Know You: Archival Photographs of Franz Marc and Russi Marc in Antennae: The Journal of Nature in Visual Culture, Vol. 41 (September 2017).

_____. “Between Something and Nothing: Franz Marc’s Authorial Ether” in The Empty Mirror (July 2017).

_____. “Alfred Flechtheim: Kunsthandler der Moderne” in Journal of Visual Art Practice, Volume 17, Issue 3 (August 2017)

Tom Grusiecki ‘Foreign as Native: Baltic Amber in Florence‘. World Art 7, no. 1 (2017): 3–36.

Rebecca Houze, ” ‘A Revelation of Grace and Pride’: Cultural Memory and International Aspiration in Early Twentieth-Century Hungarian Design.” In Expanding Nationalisms At World Fairs: Identity, Diversity And Exchange, 1851-1915. Edited by David Raizman and Ethan Robey.London: Routledge, 2017.

Frauke V. Josenhans, Marijeta Bozovic, Joseph Leo Koerner, Megan R. Luke, and Suzanne Boorsch. Artists in Exile: Expressions of Loss and Hope. (New Haven: Yale University Art Gallery, 2017).

Vittorio Magnago Lampugnani and Rainer Schützeichel (Eds.) Die Stadt als Raumentwurf Theorien und Projekte im Städtebau seit dem Ende des 19. Jahrhunderts, Berlin/Munich: Deutscher Kunstverlag, 2017

Sabine T. Kriebel and Andrés Mario Zervigón. Photography and Doubt. (London: Routledge, 2017).

Marsha Morton, “Picturing the Perils of Greed: Kladderadatsch and the 1873 Financial Crash,”  Journal of Illustration, vol. 4, issue 2, Fall 2017.

Eleanor Moseman, Die Zukunft der Vergangenheit: Richard Oelze and Post-War Reflection,” appeared in the Zeitschrift für Kunstgeschichte 80 (February 2017): 126-155.

Øystein Sjastad, Christian Krohg’s Naturalism, (University of Washington Press 2017)

Andres Mario Zervigon. Photography and Germany. (London: Reaktion Books, 2017).

Isabel Wünsche, “Natural Phenomena and Universal Laws: The Organic School of the Russian Avant-garde,” in Natural-Unnatural: Organicity and the Avant-garde, ed. Paulina Kurc-Maj und Aleksandra Jach, exh. cat., Lodz: Museum Sztuki, 2017, 185-206.

_____. “Transgressing National Borders and Artistic Styles: The November Group and the International Avant-Garde in Berlin during the Interwar Period,” in Art/Histories in Transcultural Dynamics, Late 19th to Early 21st Centuries, Munich: Wilhelm Fink, 2017, 291-307.


Shulamith Behr, “Ludwig Meidner, Exile, Creativity and Holocaust Awareness”, in exh. cat. Eavesdropper on an Age – Ludwig Meidner in Exile (Horcher in die Zeit – Ludwig Meidner im Exil), English–German edition, ed. Museum Giersch der Goethe-Universität and Jüdisches Museum der Stadt Frankfurt (Munich: Hirmer, 2016), pp. 148-165.

Shulamith Behr, “Performing the wo/man: the ‘interplay’ between Marianne Werefkin and Else Lasker-Schüler”, in Marianne Werefkin and the Women Artists in her Circle, ed. Tanja Malycheva and Isabel Wünsche, (Leiden/Boston: Brill/Rodopi, 2016), pp. 92-105.

Benus, Benjamin, and Wim Jansen. “The Vienna Method in Amsterdam: Peter Alma’s Office for Pictorial Statistics.” Design Issues 32, no. 2 (2016): 19-36.

Bourneuf, Annie. Paul Klee. L’ironie à l’œuvre, ed. Angela Lampe (2016).

_____. R. H. Quaytman, Chapter 29: Haqaq (Tel Aviv: Tel Aviv Museum of Art, 2016).

Dadaglobe Reconstructed. With Contributions by Adrian Sudhalter, Michel Sanouillet, Cathérine Hug, Samantha Friedman, Lee Ann Daffner, and Karl D. Buchberg. University of Chicago Press, 2016 http://press.uchicago.edu/ucp/books/book/distributed/D/bo23398461.html

Carey, Jean Marie.The Indexicality of Animalisierung: Remediating Franz and Russi Marc,”  in Antennae: The Journal of Nature in Visual Culture, Volume 37. (December 2016) (forthcoming).

_____. “Eyes Be Closed: Franz Marc’s “Liegender Hund im Schnee”,” in TextPraxis: Digitales Journal für Philologie 12 (May 2016).  [ http://www.uni-muenster.de/Textpraxis/sites/default/files/beitraege/jean-marie-carey-eyes-be-closed.pdf ]

Cronin, Elizabeth. “Traditional Modern becomes a Modern Tradition: Heimat Photography in Austria” in Anti:Modern; Salzburg inmitten von Europa zwischen Tradition und Erneuerung, ed. Sabine Breitwieser (Munich: Hirmer, 2016), 288-292.

Eisman, April. “From Double Burden to Double Vision: The “Doppelgaenger” in Doris Ziegler’s Paintings of Women in East Germany,” in The Doppelgaenger (German Visual Culture 3), ed. Deborah Ascher Barnstone (Oxford: Peter Lang, 2016) 45-66.

Forgacs, Eva. „On Terminology” Umeni (Prague) 2016/1.

Grusiecki, Tomasz, ‘Connoisseurship from Below: Art Collecting and Participatory Politics in Poland-Lithuania, 1587–1648‘, Journal of the History of Collections, first published online 1 July 2016, doi: 10.1093/jhc/fhw021

Haxthausen, Charles W. “Renaissance Reconsidered: Carl Einstein on De Cimabue à Tiepolo, 1935,” in: Historiographie der Moderne: Carl Einstein, Paul Klee, Robert Walser und die gegenseitige Erhellung der Künste, edited by Michael Baumgartner, Andreas Michel, and Reto Sorg, Munich: Wilhelm Fink Verlag, 2016 (September 2016).

_____. “Les genres parodiques de Klee,” in: Paul Klee: l’ironie à l’œuvre ed. Angela Lampe (catalogue of an exhibition at the Musée National d’Art Moderne, Centre Georges Pompidou, Paris, April 2016), 159-165. [ English Version: “Klee’s Parodic Genres,” in: Paul Klee: Irony at Work, Munich: Prestel Verlag, 2016 159-164.]

Huebner, Karla. “Inter-War Czech Women’s Magazines: Constructing Gender, Consumer Culture and Identity in Central Europe,” Women in Magazines: Research, Representation, Production, and Consumption, Sue Hawkins, Nicola Phillips, Rachel Ritchie, S. Jay Kleinberg, eds. Routledge, 2016, 66-80.

Malycheva, Tanja, and Isabel Wünsche. Marianne Werefkin and the Women Artists in Her Circle.Amsterdam: Brill/Rodopi, 2016. http://booksandjournals.brillonline.com/content/books/9789004333147.

Sawicki, Nicholas Ed. Friedrich Feigl, 1884-1965. Contributions by Rachel Dickson, Zuzana Duchková, Arno Pařík, Sarah MacDougall, and Nicholas Sawicki. Arbor Vitae and Galerie výtvarného umění v Chebu, 2016.http://cupress.cuni.cz/ink2_ext/index.jsp?include=podrobnosti&id=312253

Versari, Maria Elena, “Introducation” to Futurist Painting Sculpture (Plastic Dynamism) by Umberto Boccioni. Translated by Richard Shane Agin and Maria Elena Versari. Getty, 2016

Wünsche, Isabel and Wiebke Gronemeyer Ed. Practices of Abstract Art: Between Anarchism and Appropriation. With contributions by Isabel Wünsche, Naomi Hume, Rose-Carol Washton Long, Viktoria Schindler, Aarnoud Rommens, Nieves Acedo del Barrio, Gordon Monro, Birgit Mersmann, Dorothea Schöne, Elena Korowin, Marilyn Martin, Wendy Kelly, Wiebke Gronemeyer, Pamela C. Scorzin. Cambridge Scholars Publishing, 2016. http://www.cambridgescholars.com/practices-of-abstract-art


Akcan, Esra. “Is a Global History of Architecture Displayable? A Historiographical Perspective on the 14th Venice Architecture Biennale and Louvre Abu Dhabi,” Art Margins 4, no.1 (January 2015): 79-101.

_____. “Open Architecture in Berlin-Kreuzberg,” ART PAPERS (January/February 2015): 34-41.

_____.  “Exit Implies Entries Lament: Open Architecture in John Hejduk’s IBA-1984/87 Immigrant Housing,” Notes on Critical Architecture: Praxis Reloaded, Gevork Hartoonian (ed.) (London: Ashgate, 2015).

_____.  “The ‘Occupy’ Turn in Global City Paradigm: The Architecture of AK Party’s Istanbul and the Gezi Movement,” Journal of Ottoman and Turkish Studies Association, vol.2, no.2 (November 2015): 359-378.

_____. “Open Architecture as Adventure Game: John Hejduk ın a Noncitizen District,” *Perspecta *48*, Yale Architectural Journal Amnesia issue (Summer 2015): 128-144.

_____. “Can the Immigrant Speak? Autonomy and Participation in IBA 1984/87,” The Death and Life of the Total Work of Art, Chris Dähne, Rixt Hoekstra, Carsten Ruhl  (eds.) 12th International Bauhaus Colloquium 2013 (Jovis, 2015).

Anderson, Stanford, Karen Grunow and Carsten Krohn. Jean Krämer Architect and the Atelier of Peter Behrens. Weimar Verlag, 2015 (forthcoming).

Barnett, Vivian. “Russian Artists in Munich and the Russian Participation in Der Blaue Reiter” in Russian Modernism: Cross-Currents of German and Russian Art, 1907-1917, exh. cat. Neue Galerie, New York, 2015.

_____. “To My Dear Friend of Many Years—Klee and Kandinsky’s Works on Paper, 1911-1937” in Klee & Kandinsky: Neighbors, Friends, Rivals, exh. cat. Zentrum Paul Klee and Lenbachhaus, Munich, 2015.

_____. Addendum: Wassily Kandinsky Catalogue Raisonné, Munich, Editions Lenbachhaus, 2015. This is the final addendum to the catalogue raisonné.

Shulamith Behr, “Exhibitions and Beyond: Ben Uri, Politics and Émigré Identities in the Critical Years 1944-49”, in exh. cat. Ben Uri. 100 Years in London. Art Identity Migration, ed. Rachel Dickson and Sarah MacDougall (London: Ben Uri, 2015), pp. 90-105, 162-4.

Carey, Jean Marie. “„Der Sturm“ und die Wilden:  Franz Marcs Entscheidungskampf mit der Theatralität,” in Expressionismus, Band 2, edited by Kristin Eichhorn, Kiel: Neofelis, 2015, 59-80.

Clarke, Jay A. “Linocuts between the Wars: The Politics of Style, Process, and Gender, 1918-39.” In Jay A. Clarke, ed. Machine Age Modernism: Prints from the Daniel Cowin Collection. New Haven: Yale University Press, 2015, pp. 39–61.

_____. “Intermediality and the Sublime”. In Jay A. Clarke, ed. Hurricane Waves: Clifford Ross. Boston: MIT Press and Mass MoCA, 2015, pp. 16–24.

_____. and Joseph Thompson eds. Seen & Imagined: The World of Clifford Ross. Boston: MIT Press and MASS MoCA, 2015.

Deshmukh, Marion & Irene Guenther, Postcards from the Trenches, Germans and Americans Visualize the Great War, Exhibition Catalog, Pepco-Edison Gallery, Washington, DC & The Printing Museum, Houston, Texas, August, 2014-February, 2015.

Deshmukh, Marion, Max Liebermann, Modern Art and Modern Germany (Farnham, Surrey, UK Ashgate, 2015).

Eisman, April. “East German Art and the Permeability of the Berlin Wall,” in German Studies Review 38, no. 2 (October 2015).

Forgacs, Eva. “The Bauhaus has No Place”,”Das Bauhaus hat keinen Ort”, in Bauhaus News, Stimmen zur Gegenwart, Spector Books, Berlin, Dessau, Weimar, Bauhaus Kooperation, 2015.

Forster-Hahn, Françoise. “Text and Display: Julius Meier-Graefe, the 1906 White Centennial in Berlin, and the Canon of Modern Art,” in Art History 38 (February 2015): 139-169.

Grusiecki, Tomasz, ‘Between Sacred and Profane: Devotional Space, the Picture Gallery, and the Ambiguous Image in Poland-Lithuania’, Zeitschrift für Ostmitteleuropa-Forschung 64, no. 4 (December 2015): 521–542.

Haxthausen, Charles W. “Framing Movement: Kirchner in Berlin,” in Mostly Modern: Essays in Honor of Joseph Masheck, edited by Aleksandr Naymark, Easthampton, MA: Hudson Hills Press, 2015, 104-117.

_____. “’Gegenklänge‘: Klee, Kandinsky und die deutsche Kunstkritik,“in: Klee & Kandinsky: Nachbarn, Freunde, Konkurrenten, ed. Michael Baumgartner, Annegret Hoberg, Christine Hopfengart, Bern: Zentrum Paul Klee/ Munich: Lenbachaus/ Munich Prestel Verlag, 2015, pp. 334-343; English version: “’Contrasting Sounds’: Klee, Kandinsky, and the German Critics,” in: Klee & Kandinsky: Neighbors, Friends, Rivals, New York: Prestel/Random House, 2015, pp. 334-343.

_____. “Thoughts on visuelle Kultur,” in James Elkins, Gustav Frank, and Sunil Manghani, eds., Farewell to Visual Studies, Stone Art Theory Institutes Series, University Park, PA: Penn State University Press, 2015, pp. 222-224.

Holz, Keith. “New Objectivity Painting Abroad and its Nationalist Baggage.” In: New Objectivity: Modern German Art in the Weimar Republic, 1919-1933. Edited by Stephanie Barron and Sabine Eckmann. Los Angeles County Museum of Art. Prestel Verlag, 2015, 90-103. Italian edition forthcoming in conjunction with Venice, Museo Correr exhibition of same (April 2015).

_____. ““not my most beautiful but my best paintings …”: Kokoschka’s list for London.” In: Echoes of Exile: Moscow Archives and the Arts in Paris, 1933-1945. Edited by Ines Rotermund-Reynard. Berlin: De Gruyter Verlag, 2015, 85-104, 177-178.

_____. “Oskar Kokoschka in Czechoslovakia: the private life of a public artist.“ In: Kunstforum Ostdeutsche Galerie Regensburg. Oskar Kokoschka and the Prague Cultural
Scene, edited by Agnes Tieze, 2015, pp. 16-25. [English, German, and Czech editions].

Loeb, Carolyn and and Andreas Luescher eds., The Design of Frontier Spaces: Control and Ambiguity, Farnham, England, and Burlington, Vermont, USA: Ashgate, 2015

Makela, Maria. “Rejuvenation and Regen(d)eration: Der Steinachfilm, Sex Glands, and Weimar-Era Visual and Literary Culture” German Studies Review 38, no. 1 (2015): 35–62.

_____. “New Women, New Men, New Objectivity,” in New Objectivity: Modern German Art in the Weimar Republic 1919–1933, eds. Stephanie Barron and Sabine Eckmann (Los Angeles: Los Angeles County Museum of Art, 2015), 50–63.

Mansbach, Steven. “Making the Past Modern: Jože Plecnik’s Central European Landscapes in Prague and Ljubljana,” in Modernism and Landscape Architecture, 1890-1940, ed. Therese O’Malley and Joachim Wolschke-Bulmahn (New Haven: Yale University Press, 2015), 95-116.

_____. “Nationality and Modernity in Early Twentieth-Century Baltic Art: in Mostly Modern: Essays in Art and Architeacture, ed. Joseph Mascheck, (Hudson Hills Press, 2015), pp. 89-103.

_____. Radical Reading / Revolutionary Seeing: An Introduction” to the Checklist of Russian, Ukrainian & Belarusian Avant-Garde & Modernist Books, Serials & Works on Paper at The New York Public Library & Columbia University Libraries (Academic Commons, 2015), pp. 1-15.

_____. “Tekstowy radykalizm Władysław Strzemińskiego [Władisław Strzemiński’s Textual Radicalism]” in Władysław Strzemiński Czytelność obrazów, ed. Paweł Polit and Jaorsław Suchan, Łódż [Poland], 2012, pp. 35-51. Republished in English in Władysław Strzemiński: Readability of Images, eds. Paweł Polit and Jarosław Suchan, (Łódż: Muzeum Sztuki, 2015), pp. 35-50.

Morton, Marsha. “From False Objectivity to New Objectivity: Klinger’s Legacy of Symbolic Realism,” in The Symbolist Roots of Modern Art, edited by Michelle Facos and Thor J. Mednick (Ashgate, 2015).

Radycki, Diane. “Body of Evidence: Modersohn-Becker’s Reclining Mother-and-Child Nude,” in Paula Modersohn-Becker, exhibition catalogue edited by Tine Colstrup, Louisiana Museum of Modern Art (forthcoming).

Sawicki, Nicholas. “Between Montparnasse and Prague: Circulating Cubism in Left Bank Paris,” in Foreign Artists and Communities in Modern Paris, 1870-1914: Strangers in Paradise, ed. Karen Carter and Susan Waller. (Farnham: Ashgate, 2015), 67-80.

_____. “Ripolin, Flags and Wood: Picasso’s Violin, Wineglass, Pipe and Anchor (1912) and Its Cubist Frame.” The Burlington Magazine no. 1342 (January 2015): 18-26.

Sherwin Simmons, “Neue Jugend: A Case Study in Berlin Dada,” chapter in David Hopkins, ed.,  Companion to Dada and Surrealism (Hoboken, NJ: Wiley-Blackwells, 2015), pp. 38-53.

________. “’A suggestiveness that can make one crazy’: Ernst Ludwig Kirchner’s Images of Marzella,” MODERNISM/modernity, Vol. 22, no. 3 (2015), pp 1-41

Stefanski, Karolina and Marie-Elise Dupuis. “Charles-Louis Wagner and Frédéric-Jules Rudolphi’s Partnership in Paris” Silver Magazine (March/April 2015): 22-31.

Versari, Maria Elena. “Avant-Garde Iconographies of Combat: from the Futurist Synthesis of War to Beat the Whites with the Red Wedge”, Annali di Italianistica, 33 (2015), pp. 187-204.

_____. “Re-casting the past: on the posthumous fortune of Futurist sculpture”,Sculpture Journal, 23 (3) (2015), pp. 349–368.

_____. “Fascist Spoils: Gifts to Mussolini” (On the discovery of Mussolini’s seized gifts collection) The Burlington
Magazine, CLVII, June 2015, pp. 407-413.

Zervigón, Andrés Mario. “Rotogravure and the Modern Aesthetics of News Reporting.” In Getting the Picture: The History and Visual Culture of the News, edited by Jason Hill and Vanessa R. Schwartz (London: Bloomsbury Academic, January 2015).


Akcan, Esra. “A Manifesto for Collecting and Translating Manifestoes,” in The Future is Not What It Used To Be/Gelecek Artik Eskisi Gibi Degil. Catalog of Istanbul Design Biennial 2014, Zoe Ryan, Meredith Carruthers, (eds.) (Istanbul: IKSV, 2014): 300-319.

_____. “Global Conflict and Global Glitter: Architecture of West Asia,” in A Critical History of Contemporary Architecture (1960-2010), Elie Haddad and David Rifkind (eds.), (London: Ashgate, 2014): 311-337.

_____. “Postcolonial Theories in Architecture,” in A Critical History of Contemporary Architecture (1960-2010) Elie Haddad and David Rifkind (eds.), (London: Ashgate 2014): 115-136.

_____. “Modern and Contemporary Architecture in North Africa and West Asia,” Encyclopedia of Aesthetics 2nd Edition (Oxford University Press, 2014).

Barnett, Vivian. Kandinsky in Murnau, 1908-1914 in Blaues Haus und Gelber Klang: Kandinsky und Jawlensky in Murnau, exh. cat. Schlossmuseum, Murnau, 2014.

Bletter, Rosemarie. “Fragments of Utopia: Paul Scheerbart and Bruno Taut,” in Glass! Love!! Perpetual Motion!!!: A Paul Scheerbart Reader. University of Chicago Press, 2014.

_____ and Joan Ockman, eds. The Modern Architecture Symposia, 1962-1966: A Critical Edition. Yale University Press, 2014.

Eisman, April. “From Economic Equality to ‘Mommy Politics’: Women Artists and the Challenges of Gender in East German Painting,” in International Journal for History, Culture and Modernity 2, no. 2 (2014), 175-203.

_____. “Heidrun Hegewald and the Cold War Politics of the Family in East German Painting,” in Bildgespenster. Künstlerische Archive aus der DDR und ihre Rolle heute, edited by Elize Bisanz and Marlene Heidel (Bielefeld, Germany: Transcript Verlag, 2014): 205-229.

Forgacs, Eva. “ARTPOOL. A Radically Open Wunderkammer of Experimental Art” www.artmargins.com, 2014.

_____. “Deconstructivist Constructivists in Hungary 1960-1990s” Centropa 14, no.3 (Sept. 2014).

_____. “How the New Left Invented East-European Art”, in Blindheit und Hellsichtigkeit. Künstlerkritik an Politik und Gesellschaft der Gegenwart, Wiener Reihe. Themen der Philosophie, vol. 16, ed. by Herta Nagl-Docekal, Cornelia Klinger, Ludwig Nagl und Alexander Somek (Berlin: Verlag Walter de Gruyter, 2014).

_____. “Malevics visszatér” (Malevich returns) Új Muvészet (January 2014).

_____. “Modernism’s Lost Future” Filosofski Vestnik (Ljubljana) 35, No. 2 (2014): 29-45.

_____. “Muvészet veszélyes csillagzat alatt” (Art under dangerous constellation), www.tranzitblog.hu, 05.05.2014

_____. “The Past is a Work-in-Progress – also in Art History” IWM Post, No. 114 (Winter 2014/2015).

_____. “The Political Implications of the Avant-Gardes of Eastern Europe since 1945”, in Avantgarde und Modernismus. Dezentrierung, Subversion und Transformation im literarisch künstlerischen Field, ed. Wolfgang Asholt (Berlin/Boston: De Gruyter, 2014).

Forster-Hahn, Françoise. “Deutsch, modern und jüdisch: Max Liebermanns Ausstellungen in Berlin und London 1906,” in Vorträge aus dem Warburg-Haus, vol. 11 (2014).

_____. “Industrie” in Uwe Fleckner, Martin Warnke, Hendrik Ziegler (eds.), Politische Ikonographie. Ein Handbuch, Vol. II, paperback edition, (Munich: C.H. Beck, 2014), 14-19.

_____. “Das ungefragte Bild und sein fehlendes Publikum: Adolph Menzels Aufbahrung der Märzgefallenen als Verdichtung politischen Wandels,” in Uwe Fleckner (ed.), Bilder machen Geschichte. Historische Ereignisse im Gedächtnis der Kunst (De Gruyter-Akademie-Verlag, 2014), 267- 277; 499-501.

Haxthausen, Charles W. “Carl Einstein and Expressionism: The Case of Ernst Ludwig Kirchner,” in The Expressionist Turn in Art History: A Critical Anthology, ed. Kimberly Smith, London: Ashgate, 2014, 273-303.

_____. “Carl Einstein,” Encyclopedia of Aesthetics, 2nd rev and expanded edition, edited by Michael Kelly (New York: Oxford University Press, 2014).

_____. “Paul Klee, Wilhelm Hausenstein, and the “Problem of Style,” in Kritische Berichte 48, no.1 (April 2014), 47-67.

Holz, Keith. “Oskar Kokoschka in der Tschechoslovakei: Das Privatleben eines öffentlichen Künstlers.” In: Oskar Kokoschka und die Prager Kulturszene. Edited by Agnes Tieze. Artforum East-German Galerie Regensburg, 2014. English edition for Narodni Galeri, Prague, 2015, 16-25.

Huebner, Karla, “Prague Flânerie from Neruda to Nezval,” in The Flâneur Abroad: Historical and International Perspectives, Richard Wrigley, ed. Cambridge Scholars Publishing, 2014, 281-297.

Kriebel, Sabine T. Revolutionary Beauty: The Radical Photomontages of John Heartfield. Berkeley: University of California Press, 2014.

Loeb, Carolyn. “Reimagining the City: West Berlin Murals and the Right to the City,” Lisbon Street Art and Urban Creativity 2014 International Conference, eds. Pedro Soares Neves and Daniela V. de Freitas Simões, Lisbon, 2014.

Long, Rose-Carol Washton. “Lucia Moholy’s Bauhaus Photography and the Issue of the Hidden Jew,” Woman’s Art Journal, vol.35, no. 2 (Fall/Winter 2014): 37-47.

Luke, Megan. Kurt Schwitters: Space, Image, Exile. Chicago: University of Chicago Press, 2014.

Mansbach, Steven. “Capital Modernism in the the Baltic Republics: Kaunas, Tallinn, and Riga” in Races to Modernity: Metropolitan Aspirations in Eastern Europe, 1890-1940, edited by Jan C. Behrends and Martin Kohlrausch (Budapest: CEU Press, 2014), 233-266.

Matuszak, Joanna.”Performing with Objects: Andrés Galeano in conversation with Joanna Matuszak.” PAJ: A Journal of Performance and Art (108) 36, no.3 September, 2014: 102-111.

Morton, Marsha. Max Klinger and Wilhelmine Culture: On the Threshold of German Modernism. Ashgate, 2014.

Obler, Bibiana. Intimate Collaborations: Kandinsky and Münter, Arp and Taeuber. New Haven: Yale University Press, 2014.

Price, Dorothy.”Horrors, hallucinations, pity and prostheses: German Artists and the First World War’ in Carden-Coyne, Ana et al (eds.) The Sensory War Manchester: Manchester City Art Galleries (forthcoming)

Pugh, Emily. Architecture, Politics and Identity in Divided Berlin. Pittsburgh: University of Pittsburgh Press, 2014.

Radycki, Diane. “Worpswede, Idyll and After: Creativity and Partnership in the Early Twentieth Century,” in Breaking New Ground in Art History: A Festschrift in Honor of Alicia Craig Faxon, edited by Margaret Hanni (Washington, D.C.: New Academia Publishing, 2014), 137-55.

Rocco, Vanessa. “Activist Photo Spaces: ‘Situation Awareness’ and the ‘Exhibition of the Building Workers Unions (Berlin 1931),” Journal of Curatorial Studies 3: 1 (Spring 2014), 26-46.

Sawicki, Nicholas. Na ceste k modernosti: Umelecké sdružení Osma a jeho okruh v letech 1900-1910 [On a Path to Modernity: The Eight and Its Circle in the Years 1900-1910]. Trans. Pavla Machalíková, Prague: Univerzita Karlova, 2014.

Sherwin Simmons. “Hands on the Table. Ernst Ludwig Kirchner and the Expressionist Still Life,” Art History, Vol 38, no. 1 (2014), 96-125.

“Obrist/Worringer/Marc: Abstraction and Empathy on the Eve of World War
I,”  konturen, e-journal of the German Studies Program, University of
Oregon, Vol. 5 Abstraction and Materiality. https://urldefense.proofpoint.com/v2/url?u=http-3A__journals.oregondigital.org_konturen_article_view_3246_3200&d=DwIDaQ&c=HUrdOLg_tCr0UMeDjWLBOM9lLDRpsndbROGxEKQRFzk&r=Kd6o8WhIWsa08o8FIIG1LL36mij24K_EIEGOJzu-VLk&m=ceA3ZO2btWH9cKrNKeOQZo-NtHHBaqCRDg5IGmwqg0I&s=zWD6LmtgQd0WJsK-iNqNZcveW-9NyP5VEVAYbrzgYNY&e=

_____. “Dada and Kitsch: Cultivating the Trivial,” in Dada Virgin Microbe, edited by David Hopkins and Michael White (Evanston, IL: Northwestern University Press, 2014), pp. 227-51.

_____.“’A Byway for Sure’: Cubism’s Reception and Impact on Die Brücke 1910-14,” in Expressionism in Germany and France: From van Gogh to Kandinsky, exhibition catalogue edited by Timothy Benson, Los Angeles County Museum of Art, 2014, 262-75.

Zervigón, Andrés Mario. “The Peripatetic Viewer at Heartfield’s Film und Foto Exhibition Room.” October 150, Fall 2014.

_____. “Toward an Itinerant History of Photography: The Case of Lalla Essaydi.” In Photography, History, Difference, edited by Tanya Sheehan (Hannover, NH: University Press of New England, November 2014).

_____. “Die anderen Bildamateure. Agitprop, Werbung und Bildmontage unter der Anleitung der KPD” [“The Other Picture Amateurs: Agitprop, Advertising and Pictorial Montage under the Direction of the KPD”]. In Das Auge des Arbeiters. Arbeiterfotografie und Kunst um 1930, edited by Wolfgang Hesse (Leipzig: Spector-Verlag, 2014).

_____ and Tanya Sheehan, eds. Photography and Its Origins (London, UK: Routledge, December 2014).

_____. “César Domela-Nieuwenhuis – Hamburg. Deutschlands Tor zur Welt [Hamburg, Germany’s Gateway to the World], c. 1930.” At the website Object: Photo, edited by Mitra Abbaspour, et. al. New York: Museum of Modern Art, winter 2014.


Behr, Shulamith. Review of Netzwerke des Exils. Künstlerische Verflechtungen, Austausch und Patronage nach 1933, eds. Burcu Dogramaci and Karin Wimmer. (Gebrüder Mann Verlag, Berlin, 2011), The Burlington Magazine, no. 1326, vol. 155, September 2013, pp. 628-629.

_____. “Kandinsky and Theater: the Monumental Artwork of the Future”, in exh. cat. Vasily Kandinsky and the Total Work of Art: from Blaue Reiter to Bauhaus, ed. Jill Lloyd, Neue Galerie, New York, and Hatje Cantz, Ostfildern, 2013, pp. 64-85.

Benus, Benjamin. “Figurative constructivism and sociological graphics,” in Isotype: Design and Contexts 1925-1971, edited by Christopher Burke, Eric Kindel, and Sue Walker (Hyphen Press, 2013).

Brooker, Peter, Sascha Bru, Andrew Thacker, and Christian Weikop, eds. The Oxford Critical and Cultural History of Modernist Magazines, Volume III: Europe 1880-1940. New York: Oxford University Press, 2013.

Clarke, Jay A. “Art Equals Life: Munch and the Problem of Biography,” Munch 150 (National Museum and Munch Museum, 2013).

_____. “Cornelia Paczka-Wagner: Representing the Symbolic Self,” Cantor Art Center Journal (Spring 2013).

_____. “1927: Munch’s Changing Role in Germany,” Kunst og Kultur, xcvi, 2013, pp. 170–81.

Cronin, Elizabeth. “Rudolf Koppitz und die österreichische Heimat” in Rudolf Koppitz: Photogenie, ed. Monika Faber and trans. Wolfgang Astelbauer. Vienna: Brandstätter, 2013, 44-53.

_____. “The Problem of German Identity in 1930s Austria and the Influence of Austrian Heimat Photography” in Representations of German Identity, eds. Deborah Ascher Barnstone and Thomas Haakenson. New York: Peter Lang, 2013, 153-175.

Forgacs, Eva. In Back Light. Fehér László. Budapest: Pauker Collections, 2013.

_____. “Modernist Magazines, Hungary”, with Tyrus Miller, in Peter Brooker, Andrew Thacker, Sacha Bru, Christian Weikop, eds., The [Oxford] Critical and Cultural History of Modernist Magazines, Vol. 3: Europe 1880-1940, Part Two, 2013.

_____. “Internationalists Spread Thin. The Hungarian Aspect 1920-1922” Hubert van den Berg, Lydia Gluchowska eds., Internationality and Internationalism in the European Avant-Garde in the First Half of the Twentieth Century. Leeuven: Peeters, 2013.

Gasparavicius, Gediminas. “How the East Saw the East in 1992: NSK Embassy Moscow and Relationality in Eastern Europe,” Public Art Dialogue, Fall 2013, Vol. 3, Issue 2, 220-241.

Grusiecki, Tomasz. “From the Site of Presence to the Medium of Representation, and beyond: The Fluid Epistemology of Imagery in Post-Reformation Poland-Lithuania” in Mediating Religious Cultures in Early Modern Europe, ed. Torrance Kirby and Matthew Milner. Cambridge Scholars Publishing, 2013, 85-118.

Huebner, Karla. “Otherness in First Republic Czechoslovak Representations of Women,” in Dagnoslaw Demski, Ildikó Sz. Kristóf, and Kamila Baraniecka-Olszewska, eds., Competing Eyes: Visual Encounters with Alterity in Central and Eastern Europe, Budapest, 2013, 438-460.

_____. “In Pursuit of Toyen: Feminist Biography in an Art-Historical Context,” Journal of Women’s History 25, no. 1 (Spring 2013), 14-36.

Loeb, Carolyn. “The Politics of Public and Private Space: Housing and Urbanism in Divided Berlin,” in Edward Murphy, ed. Infrastructures of Home and City: The Problem of Housing in Modern Urban Society, London and Burlington, VT: Ashgate Publishing, 2013.

_____ and Andreas Luescher, “Cultural Memory After the Fall of the Wall: The Case of Checkpoint Charlie,” in Max Stephenson and Laura Zanotti, eds. Building Walls, Securitizing Space, and the Making of Identity, London and Burlinton, VT: Ashgate Publishing, 2013.

Long, Rose-Carol Washton. “Constructing the Total Work of Art: Painting and the Public,” in Vasily Kandinsky: from Blaue Reiter to the Bauhaus, 1910-1925. Exhibition catalogue. New York: Neue Galerie New York, 2013: 32-47.

_____. “August Sander’s Portraits of Persecuted Jew,” Tate Papers 19 (April 2013) an e-journal: 1-14.

Mansbach, Steven. Riga’s Capital Modernism. Leipzig: Leipziger Universitätsverlag, 2013.

Matuszak, Joanna. “Ice as Element: German Vinogradov’s performance Songs of the Glacial Toad.” Performance Research 18, no.6 (On Ice) 2013: 85-96.

Morton, Marsha. “Cultural History,” in The Routledge Companion to Music and Visual Culture, edited by Tim Shephard and Anne Leonard, London: Routledge, 2013.

Nisbet, Peter. Review of Objects as History in Twentieth-Century German Art: Beckmann to Beuys by Peter Chametzky. caa.reviews (June 26, 2013)

Noy, Irene. “Art That Does Not Make Noise? Mary Bauermeister’s Early Work and Exhibition with Karlheinz Stockhausen,” Immediations 3, no.2 (2013), 25-31.

Radycki, Diane. Paula Modersohn-Becker: The First Modern Woman Artist. New Haven: Yale University Press, 2013.

_____. “Töchter of Feminism: Germany and the Modern Woman Artist,” Historically Speaking: The Bulletin of the Historical Society 14, no. 5 (2013), 43-45.

Rocco, Vanessa. “Building Workers Unions Exhibition, Berlin, 1931,” Aperture (Winter 2013), 54-55.

_____. “Designing and Displaying Fascism,” in Made in Italy: Rethinking A Century of Italian Design (London: Bloomsbury, 2013), 179-192.

Rowe, Dorothy. After Dada: Marta Hegemann and the Cologne Avant-Garde. Manchester University Press, 2013.

_____. ‘August Sander and the Artists: Locating the Subjects of New Objectivity’ Tate Papers 19, April 2013.

van Dyke, James A. “”Erasure and Jewishness in Otto Dix’s Portrait of the Lawyer Hugo Simons,” in Renew Marxist Art History, eds. Warren Carter, Barnaby Haran, and Frederic J. Schwartz (London: Art/Books, 2013), 362-81.

_____. “Torture and Masculinity in George Grosz’s Interregnum,” New German Critique 40, no. 2 119 (Summer 2013): 137-65.

_____. “Ernst Barlach and the Conservative Revolution,” German Studies Review, 36 no. 2 (May 2013): 281-305.

_____. “Otto Dix’ Volkstümlichkeit,” in Das Auge der Welt: Otto Dix und die Neue Sachlichkeit 1920-1945, ed. Nils Büttner and Daniel Spanke, exh. cat. Kunstmuseum Stuttgart (Ostfildern-Ruit: Hatje-Cantz, 2012), 84-97; in English translation as “Otto Dix’s Folk Culture,” in Otto Dix and New Objectivity, ed. Nils Büttner and Daniel Spanke, exh. cat. Kunstmuseum Stuttgart (Ostfildern-Ruit: Hatje-Cantz/New York: D.A.P., 2013), 84-97.


Behr, Shulamith. “Académie Matisse and its relevance in the life and work of Sigrid Hjertén”, in A Cultural History of the Avant-Garde in the Nordic Countries 1900-1925, eds. Hubert van den Berg, et al, Rodopi, Amsterdam & New York, 2012, pp. 149-164.

Brisman, Shira. “Sternkraut: The Word that Unlocks Dürer’s Self Portrait of 1493,” in the exhibition catalog Der frühe Dürer (Nürnberg: Germanisches Nationalmuseum, 2012).

Clarke, Jay A. “Puberty as Metabolic Moment,” in Puberty (Munch Museum, 2012).

Crowther, Paul and Isabel Wünsche, eds. Meanings of Abstract Art: Between Nature and Theory. Routledge Advances in Art and Visual Studies. London: Routledge, 2012.

Eisman, April. “Painting the East German Experience: Neo Rauch in the Late 1990s,” in Oxford Art Journal, Vol. 35, Issue 2, 2012, 233-250.

_____. “Denying Difference in the Post-Socialist Other: Bernhard Heisig and the Changing Reception of an East German Artist,” in Contemporaneity: Historical Presence in Visual Culture, Vol. 2, 2012, 45-73.

Forgacs, Eva. “The Bauhaus and Hungary’s Émigré Artists’ Last Illusions of Modernity”, in Lilly Dubowitz, In Search of a Forgotten Architect: Stefan Sebok 1901-1941, London: Architectural Association, 2012.

_____. “Reinventing the Bauhaus. The 1923 Bauhaus Exhibition as a Turning Point in the Direction of the School” in Bauhaus: Art as Life, exh. cat., London: Barbican Art Gallery, Koenig Books, 2012.

_____. “Muhelyek és titkok. Nádas Péter a Kunsthaus Zug-ban” [Studios and secrets. Peter Nadas in Kunsthaus Zug], Élet és irodalom, (Budapest) Nov. 23, 2012.

_____. “Fényben , térben idoben. Nádas Péter szöveg-képei” [In light, space, and time. Peter Nadas’s text images], Enigma, (Budapest) No. 70, Nov. 2012.

_____.”Nyolcak. Terminológia, történelem, kulturális transzfer”[The Eight. Terminology, history, cultural transfer] Enigma, (Budapest) Vol. XVIII, No. 69, Spring 2012.

_____. “‘Today is a Beautiful Day’ The ‘New Sensibility” or ‘New Subjectivism’ in the Hungarian Post-Avant-Garde of the1980s” Umeni/Art (Prague), Vol. LIX, no. 3-4/2011 (published in 2012).

Forster-Hahn, Françoise. “Die weisse Jahrhundertausstellung 1906 in Berlin: Ausstellungsinszenierung und Meier-Graefe’s Entwicklungsgeschichte der modernen Kunst (1904),” in: Jahrbuch der Berliner Museen, vol. 54 (2012).

Funkenstein, Susan. “Picturing Palucca at the Bauhaus.” In New German Dance Studies, eds. Susan Manning and Lucia Ruprecht. Urbana, Chicago, and Springfield: University of Illinois Press, 2012, 45-62.

Grusiecki, Tomasz. “Going Global? An Attempt to Challenge the Peripheral Position of Early Modern Polish-Lithuanian Painting in the Historiography of Art” in The Polish Review 57, no. 4 (December 2012): 3-26.

Gurshtein, Ksenya, “OHO: An Experimental Microcosm on the Edge of East and West” in Christian Höller, ed. L’Internationale – Post-war Avant-gardes between 1956 and 1986, Zurich: JRP Ringier, 2012, pp. 208-215.

Hamlin, Amy. “The Conditions of Interpretation: A Reception History of the Synagogue by Max Beckmann.” nonsite.org 7 (October 2012) [http://nonsite.org/article/the-conditions-of-interpretation-a-reception-history-of-the-synagogue-by-max-beckmann]

Heller, Reinhold. “Making a Picture Scream.” In Edvard Munch: The Scream, 27-50. New York: Sotheby’s, 2012.

Holz, Keith. “‘Brushwork thick and easy’ or a ‘beauty-parlor mask for murder’? Reckoning with the Great German Art Exhibitions in the Western democracies.” RIHA Journal 0055 (28 September 2012), www.riha-journal.org/articles/2012/2012-jul-sep/holz-reckoning

Koss, Juliet. “Bauhausfolket [Bauhaus People],” trans. Nina Poulsen, in Kulturo: Tidsskrift for Kunst, Litteratur og Politik (Kulturo: Journal for Art, Literature, and Politics) No. 34 (special issue on Folkelighed), Copenhagen, Denmark, Fall 2012: 78-88.

_____. “Scalebound Bauhaus,” in The Islands of Benoit Mandelbrot: Fractals, Chaos, and the Materiality of Thinking, ed. Nina Samuel. New Haven: Yale University Press, 2012, 152-57.

Mansbach, Steven, ed. “New Histories and New Methods in Engaging the Eastern European Avant-Gardes.” Special issue of ARS: Casopis Ústavu dejín umenia Slovenskej akadémie vied / Journal of the Institute of Art History of the Slovak Academy of Sciences 45, no. 1 (December 2012).

_____. “Delayed Discovery or Willful Forgetting? The Reception of Polish Classical Modernism in Americaini” Slavic Review 71, no.3 (Fall 2012): 489-514.

_____. “Tekstowy radykalizm Wladyslaw Strzeminskiego [Wladislaw Strzeminski’s Textual Radicalism]” in Wladyslaw Strzeminski Czytelnosc obrazów, ed. Pawel Polit and Jaorslaw Suchan (Lódz [Poland], 2012), 35-51.

Morton, Marsha. “Un Art à La Marge: Klinger Au Seuil Du Modernisme.” In Max Klinger Le Théâtre De L’étrange : Les Suites Gravées 1879-1915. Exposition Présentée Au Musée d’Art Moderne Et Contemporain De La Ville De Strasbourg Du 12 Mai Au 19 Août 2012, edited by Marie-Jeanne Geyer, 21–36. Strasborg, France: Editions des Musées de Strasbourg, 2012.

Timpano, Nathan J. “Nazi vs Niebelung: Satirising National Socialism at Harvard’s Germanic Museum,” in Oxford Art Journal 35, no. 3 (December 2012): 389-411.

van Dyke, James A. “Felixmüller’s Failure: Painting and Poverty,” in Beyond Glitter and Doom: New Perspectives of the Weimar Republic, ed. Godela Weiss-Sussex and Jochen Hung (Munich: Iudicium, 2012), 176-191.

_____. “Something New on Nolde, National Socialism, and the SS,” Kunstchronik (Munich) 65 (2012): 265-270.




Lyndsay Bratton, “Czech Applied Artist Collectives in Service of the Nation: Artěl, Prague Art Workshops, and the Czechoslovak Werkbund, 1908-1925” (University of Maryland; Professor Steven A. Mansbach).

Caitlin Dalton, “Imprinting Art and Ideology: Memory and Pedagogy in the Early German Democratic Republic” (Boston University)

Jennifer Dillon, “Figuration and Public Life: Bathhouse Architecture in Berlin (1880-1939),” (Duke; Prof. A. Warton)
Kirsten Elise Gilderhus, “Homage to the Pyramid: Geometric Abstraction, Mesoamerican Architecture, and the Art of Josef Albers” (University of Wisconsin-Madison; Dr. Barbara C. Buenger)

Linda Leeuwrik, “Blue Riders of the Apocalypse: Kandinsky and Marc in the German Apocalyptic Tradition” (Bryn Mawr, US; Prof. Christiane Hertel)

Caren Mulder, “New Rationales for Neues Glas: Architectonic Context and German Glass Installations since 1959″ (Virginia, US; Prof. R.G. Wilson)

Irene Noy, “Sound Art, Gender and the West German Context” (The Courtauld Institute of Art, London, UK; Dr.  Shulamith Behr)

Erin Sassin, “Examining the German Ledigenheim: Development of a Housing Type, Position in the Urban Fabric and Impact on Central European Housing Reform (1870-1933)” (Brown University, US; Prof. Dietrich Neumann)

Edit Toth, “Situating the Subject: Hungarian Modernism in Revolution. Budapest-Vienna-Berlin, 1918-1923” (Pennsylvania State University, US; Dr. Nancy Locke)

Joshua Waterman, “The Visual Arts and Poetry in 17th-century Silesia” (Princeton University, US).

Lucy Watling, “Documents of a Forgotten Network: Emigre Loans to Twentieth Century German Art (London, 1938)” (Courtauld Institute of Art, UK; Dr. Shulamith Behr)



Peter Fox, “Bernhard Pankok and Design Reform in Germany, 1895-1914” (Princeton University; Esther da Costa Meyer)


Tomasz Grusiecki, “Globalising the Periphery: Poland-Lithuania and Cultural Entanglement, 1587-1668” (McGill University; Prof. Angela Vanhaelen)

Cara Jordan, “Joseph Beuys and Social Sculpture in the United States” (Graduate Center, CUNY; Prof. Harriet Senie)

Jean Marie Carey, “How Franz Marc Returns” (University of Otago/Universität Kassel; Dr. Cecilia Novero)


Morgan Ridler, “The Bauhaus Wall Painting Workshop: Mural Painting to Wallpapering, Art to Product” (The Graduate Center, CUNY; Rose-Carol Washton Long).


Erin Sullivan Maynes, “Speculating on Paper: Print Culture and the German Inflation, 1918 – 1924” (University of Southern California, US; Profs. Megan Luke and Karen Lang)

Shannon Connelly, “Curious Realism: Dada and Die Neue Sachlichkeit in 1920s Karlsruhe” (Rutgers University; Andrés Mario Zervigón)


Christian Huemer, “Isolation and Encounter: The Art Market as a Medium of French-Austrian Cultural Transfers 1873-1937,” (CUNY Graduate Center, US; Prof. P. Mainardi).

Erin Hanas, “Wolf Vostell’s Fluxus Zug, Model Museum, Academy, Archive” (Duke University, US; Dr. Kristine Stiles).

Dara Kiese, “Entfesseltes Bauen (Building Unleashed): Holistic Education in Hannes Meyer’s Bauhaus: 1927-1930” (CUNY, US; Prof. R. Washton Long)


Elizabeth Cronin, “Passive Fascism? The Politics of Austrian Heimat Photography” (Graduate Center, CUNY; Profs. G. Batchen and R. Long)

Lauren Graber, “Gruppe SPUR and Gruppe GEFLECHT: Art and Dissent in West Germany, 1958-1968” (University of Michigan, Professor Matthew Biro)


Ksenya Gurshtein, “TransStates: Conceptual Art in Eastern Europe and the Limits of Utopia,” (University of Michigan, Professor Alex Potts)

Diane Silverthorne, “New Spaces of Art, Design and Performance: Alfred Roller and the Vienna Secession” (Royal College of Art, London, Professor Jeremy Aynsley)

Benjamin Benus, “Figurative Constructivism, Pictorial Statistics, and the Group of Progressive Artists, c. 1920-1939”  (University of Maryland; Prof. Steven A. Mansbach)

Sharon Jordan, “Philosophers, Artists and Saints: Ernst L. Kirchner and Male Friendship in Paintings, 1914-1917” (City University of New York, Dr. Rose-Carol W. Long)

Megan R. Luke, “Space for Recognition: The Late Work and Exile of Kurt Schwitters (1930-1948)” (Harvard University; Prof. Yve-Alain Bois)

Lynette Roth, “The Cologne Progressives: Political Painting in Weimar Germany” (Johns Hopkins; Profs. B. Doherty and M. Fried)

Jeffrey Saletnik,“Pedagogy, Modernism and Media Specificity: the Bauhaus and John Cage” (University of Chicago, US; Prof. Reinhold Heller)

Brett M. van Hoesen, “Critiquing Colonial Legacies: The Arts, Propaganda and the Popular Press in Weimar Germany” (University of Iowa, US; Profs. C. Adcock and S. Foster)

Jenni Drozdek, “A Taste for Paris: The Modernist Dialogue between France and ‘Young Poland’, 1890-1914” (Case Western Reserve U.; Prof. A. Helmreich).

Emily Pugh, “The Berlin Wall and the Urban Space and Experience of Berlin, 1961-89” (CUNY Graduate Center, Prof. Kevin Murphy)

Robin Schuldenfrei, “Luxury and Modern Architecture in Germany, 1900-1933,” (Harvard University; Prof. K. Michael Hays)


Zynep Celik,”Kinaesthetic Impulse: Space, Performance, and the Body in German Architecture, 1880-1914″ (MIT; Prof. M. Jarzombek).

April Eisman. “Bernhard Heisig and the Cultural Politics of East German Art” (Ph.D. diss, Pittsburgh, PA: University of Pittsburgh, 2007).

Amy Kelly Hamlin, “Between Form and Subject: Max Beckmann’s Critical Reception and Development, ca.1906-1924″ (NYU, IFA; Prof. Robert Lubar).

Jeanne-Marie Musto, “Byzantium in Bavaria: Art, Architecture and History between Empiricism and Invention in the Post-Napoleonic Era”(Bryn Mawr College; Profs. Dale Kinney and Christiane Hertel, 2007).

Laura Martinez de Guerenu, “To Construct Abstraction: Attitude and Strategy of the Moderno Project” (University of Navarra, Spain; Prof. Sarah Williams Goldhagen)

Eleanor Moseman, “Expressing Cubism: Ernst Ludwig Kirchner’s ‘Berlin Style’ and its Affinities with the Painting of Bohumil Kubišta” (Bryn Mawr College, Bryn Mawr, PA; Prof. Christiane Hertel)

Isabelle Schwarz, “European Archives of Artists’ Publications from the 1960s to the 1980s” (International University Bremen, Germany; Prof. Isabel Wünsche)

Gregory H. Williams, “Laughter and Cultural Pessimism: The Joke in West German Art, 1974-1989” (Graduate Center, City University of New York, Prof. Romy Golan)

Jeanne Anne Nugent, “Family Album and Shadow Archive: Gerhard Richter’s East, West, and ‘All’ German Painting, 1949-1966” (University of Pennsylvania, US; Prof. Christine Poggi)

Adrian Sudhalter,“Johannes Baader and the Demise of Wilhelmine Culture: Architecture, Dada, and Social Critique, 1875-1920” (the Institute of Fine Arts, New York University)

Claire Zimmerman, “Modernism, Media, Abstraction: Mies van der Rohe’s Photographic Architecture in Barcelona and Brno (1927-1931)” (CUNY Graduate Center, US; Prof. R. Bletter).

Piotr Bernatowicz, “Recepcja Pabla Picassa w Europie Srodkowej (Czechoslowacja, NRD, Polska, Wegry) w latach 1945-1970 [Pablo Picasso’s Reception in Central Europe (Czechoslovakia, Poland, Hungary) in years 1945-1970” (Adam Mickiewicz University, Poznan, Poland; Prof. Piotr Piotrowski)

Piotr Korduba, “Patrycjuszowski dom gdanski w czasach nowozytnych [A Patritian House in Gdanski in the Modern Period.” (Adam Mickiewicz University, Poznan, Poland; Prof. Tadeusz Zuchowski)

Adam Socko, “Uklady emporowe jako realizacji idei wywyzszenia w architekturze Panstwa Krzyzackiego” (Adam Mickiewicz University, Poznan, Poland; Prof. Szczesny Skibinski)

Maciej Szymanowicz, “Miejsce piktorializmu w historii polskiej fotografii dwudziestolecia miedzywojennego [The Place of Pictorializm in the History of Polish Photography of the Interwar Period]” (Adam Mickiewicz University, Poznan, Poland; Prof. Piotr Piotrowski)

Rachel Epp Buller, “Fractured Identities: Photomontage Production by Women in the Weimar Republic” (The University of Kansas)

Paulina Cynalewska-Kuczma, “Architektura cerkiewna Kosciola prawoslawnego w Królestwie Polskim jako narzedzie integracji z Imperium Rosyjskim [Church Architecture of the Christian Orthodox Churches in the Polish Kingdom as a Tool of Russian Imperial Intergration Efforts]” (Adam Mickiewicz University, Poznan, Poland; Prof. Konstanty Kalinowski)

Rafal Makala, “Miedzy prowincja a metropolia. Architektura Szczecina w latach 1893-1918 [Between a Province and a Metropolis. Szczecin Architecture, 1893-1918]”. (Adam Mickiewicz University, Poznan, Poland; Prof. Jan Skuratowicz)

Marta Smolinska-Byczuk, “Mlody Mehoffer [Young Mehoffer]” (Adam Mickiewicz University, Poznan, Poland; Prof. Wojciech Suchocki)

Michal Haake, “Portret w malarstwie polskim u progu nowoczesnosci [Portrait in Polish Painting on the Brink of Modernity]” (Adam Mickiewicz University, Poznan, Poland; Prof. Wojciech Suchocki)

Kelly McCullough, “Inner Necessity: the Interior Scenes of Ernst Ludwig Kirchner and Erich Heckel and their Relation to the Artists’ Group ‘Die Brücke’” (Bryn Mawr, USA; Prof. Christiane Hertel)

Stalder, Laurent. “Hermann Muthesius (1861-1927)—Das Landhaus als kulturgeschichtlicher Entwur” (ETH/gta, Zurich; Profs. Stanford Anderson and Werner Oechslin).

Maciej Broniewski, “Barokowy prospekt organowy w kosciele Laski w Jeleniej Górze. Dzielo w obliczu konfliktów religijnych i politycznych, [A Baroque Organ Assembly in the Laski Church in Jelenia Góra. Art Work in the Context of Religious and Political Conflicts” (Adam Mickiewicz University, Poznan, Poland; Prof. Konstanty Kalinowski)

Agata Jakubowska, “Cialo kobiece w pracach polskich artystek wspólczesnych [The Female Body in the Works of Contemporary Polish Women Artists]” (Adam Mickiewicz University, Poznan, Poland; Prof. Piotr Piotrowski)

Izabela Kowalczyk “Cialo i wladza we wspólczesnej sztuce polskiej [Body and Power in Polish Contemporary Art]” (Adam Mickiewicz University, Poznan, Poland; Prof. Piotr Piotrowski)

member directory


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New HGSCEA members are automatically added to the directory. If you do not wish to be listed or need to submit corrections, please write to hgscea.updates@gmail.com.

Hannah Abdullah 
German art and culture post-1945 and contemporary German art

Esra Akcan 
Associate Professor of Architectural History, School of Art, Architecture, and Planning, Cornell University
German-Turkish exchanges in architecture; contemporary architectural theory

Samuel Albert 
Central European/Hapsburg modern architecture and urbanism

Anthony Alofsin 
Roland Roessner Centennial Professor of Architecture, University of Texas at Austin
19th & 20th c. Central European architecture

Nina Amstutz 
Assistant Professor, University of Oregon
German art of the 18th to the early 20th centuries, especially Romanticism

Jenny Anger 
Professory and Chair. Dept. of Art, Grinnell College
20th c. German art/theory

James H. Arthur
Independent Scholar
Max Beckmann, German art 1900-1914

Sara Ayres
Kingston University (UK)
early twentieth-century Viennese painting and interiors

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Stina Barchan
Weimar Germany, Dada, Hannah Höch, Kurt Schwitters, Scandinavian Modernism

Vivian Endicott Barnett
Freelance Curator
Kandinsky; Blaue Reiter; Blue Four

Stephanie Barron
Los Angeles County Museum of Art, 5905 Wilshire Blvd., Los Angeles, CA 90036
German art, 1920s-1930s

Brigid Barton
Santa Clara University, 2081 Webster Street, Palo Alto, CA 94301
19th-20th c. German painting, especially Neue Sachlichkeit

Lin Barton
Independent Scholar

Barbora Bartunkova
PhD Candidate, Yale University
European modern and contemporary art, photography, and film; interwar and Cold War visual cultures; Czechoslovak avant-garde; intersections of art and politics; transnational cultural exchange; representations of women and gender

Priyanka Basu
Art History, Humanities Division, University of Minnesota, Morris
19th- and 20th-century German Art, History of Art History, Aesthetic Theory, Applied Arts

Anja Baumhoff 
History of Art and Design at Hochschule Hannover
Art-, design and cultural history of 19th and 20th c. Germany; Bauhaus; gender history and theory

Jennifer Beetem
Art Historian
Bauhaus, works on paper, Kunstzeitschriften

Shulamith Behr
Courtauld Institute of Art, University of London, Somerset House, Strand, London WC2R ORN, United Kingdom
German 20th c.& Scandinavian modernism

Gretchen Bender 

Timothy Benson
Los Angeles County Museum of Art, Robert Gore Rifkind Center for German Expressionist Studies, 5905 Wilshire Blvd., Los Angeles CA 90036
German, Czech, Hungarian and Polish modernism 1900-1930

Benjamin Benus
Loyola University New Orleans
Modern Art in Germany and Central Europe

Joyce Berczik Corbett 

Patricia Berman
Feldberg Professor of Art, Department of Art, Wellesley College
Modern Art, History of Photography, Scandinavian Art

Margaret B. Betz
Savanah College of Art & Design, 125 Arnold Hall, 1810 Bull Street, PO Box 3146, Savannah, GA 31402-3146
Russian and Polish Art, 19th and 20th c. & spirituality

Ann Vollman Bible
German modernism

Susanneh Bieber
College of Architecture, Texas A&M University
Modern and contemporary art and architecture; artistic exchanges between the US and Germany; museum studies, visual and material culture

Rosemarie Bletter
Ph.D. Program in Art History, City University Graduate Center
365 Fifth Ave., New York, New York 10016-4309
Early 20th c. German architecture and design; Spanish turn of the century and American 20th c.

Sara Blaylock
Assistant Professor, University of Minnesota, Duluth
East German, Cold War culture, Central & Eastern Europe

Frances Blythe
Ph.D. Candidate, University of Edinburgh,
Twentieth-century German art, architecture & literature; national identity & belonging; landscape in German history; Romanticism & its resonances

Oliver Botar
Professor, Art History, University of Manitoba
Hungarian Modernism, Bauhaus, Laszlo Moholy-Nagy, Biocentrism and Modernism in Central Europe

Annie Bourneuf
School of the Art Institute of Chicago
German Modernism, Dada, August Sander, Paul Klee, media history and theory of art

Kelly Brown
Student Utah Valley University
Weimar Germany, German Gothic Architecture, German Renaissance

Kathryn Brush
Department of Visual Arts, University of Western Ontario, London, Ontario, CANADA, N6A 587
German medieval art and architecture; historiography

Gregory Bryda
Asst. Professor, Columbia University
Art of the European Middle Ages

Anna Brzyski
Department of Art, University of Kentucky, 207 Fine Arts Building, Lexington, KY 40506-0022
Polish 19th & early 20th c. artworld; discourse & institutional analysis; nationalism & modernism; value in art & art history

Barbara C. Buenger
University of Wisconsin – Madison
Modern European, German, & Italian Art, 19th centuries-present; Max Beckmann; Beckmann in Berlin, 1933-1937; Modernism, Fascism, Totalitarianism in Art; German Expressionist Prints; World War I in Modern Art and Material Culture

Nora Butkovich

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Jean Marie Carey 
PhD / U.S.- Norway Fulbright Foundation and Marie Sklodowska Curie Research Fellow, Universitetet i Stavanger Arkeologisk Museum
Franz Marc / Animals in European Art, prehistory to the present

Bradley Cavallo
Temple University
Early Modern sexual aesthetics, Materiality

Peter Chametzky
School of Visual Art and Design, University of South Carolina, 1615 Senate Street, Columbia, SC 29208

Alison Chang
Independent Scholar
Scandinavia, 1850-present; printmaking; critical race theory

Theresa Kutasz Christensen
Independent Scholar
Queen Christina of Sweden, Gustav III of Sweden, copies, fakes, forgeries, early modern women, 17th and 18th century collecting, early modern Sweden, the warship Vasa, travel incognito, female collectors, display, Italian art, antiquarianism, Rome, sculpture

Peter Christensen
Assistant Professor in the Department of Art and Art History, University of Rochester
Architectural History of Germany and Ottoman Empire, Critical Digital Humanities 

Jay Clarke
Rothman Family Curator of Prints & Drawings, Art Institute of Chicago
19th & 20th c. German & Norwegian art

MaryKate Cleary
New York University
20th century German art and architecture; cultural and national identity; art in the Nazi-era; exiles studies; History of Collection; the historic art market

John Collins
National Gallery of Canada
Mailing address: 380 Sussex Drive, POB 427, Station A, Ottawa, Ontario K1N 9N4, Canada

Shannon Connelly
Assistant Dean of the Graduate School, The University of Texas at El Paso
Dada, Neue Sachlichkeit, Regionalism and Transatlantic Visual Cultures

Heidi Cook 
Assistant Professor of Art History, Directory, University Art Gallery, Truman State University. 
19th and 20th-century Central European art and design, nationalism and art, Croatia and former Yugoslavia 

Andrea Crane
Senior Specialist, Phillips, de Pury & Luxembourg, 60 Gramercy Park North, New York, NY 10010

Elizabeth Cronin
Photography Collection, New York Public Library
Austrian and German Photography

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Stephanie D’Alessandro
Art Institute of Chicago, 111 South Michigan Ave., Chicago, IL 60603
19th & 20th c. German art

Caitlin Dalton 
Lecturer, Boston University
Twentieth-Century German Print Culture

Jessica Davis 
Adjunct Instructor of Art History, Tech Art History Society, Texas
Interwar period in France and Germany

Rachel Denniston
Student, Courtauld Institute of Art
Modern and Contemporary Art and Architecture, Material Culture, Women Artists, German Expressionism, Bauhaus, Utopias

Marion Deshmukh
Dept of History and Art History, George Mason University, 3G1, Fairfax, VA 22030
German Impressionism; Max Lieberman; post-1945 arts policies

Marco Di Nallo

Dorothea Dietrich
20th c. Germany; especially Weimar & 1960s

Marina Dmitrieva-Einhorn
Center for History & Culture of East Central Europe, Leipzig, Germany
modern art in Central & Eastern Europe; Renaissance in Central Europe

Elizabeth Doe
PhD Student, University of Virginia
19th and early 2oth-century French, American, and Scandinavian art

Charlotte Douglas
New York Universary, 125 St. Marks Place, Staten Island, NY 10301
Late 19th and early 20th century Russian and E. European art; Modernism; Textiles; History of science and technology; World War I; British-Russian connections; Outer space.

Magdalena Droste
LS Kunstgeschichte, Postfach 101344, 03013 Cottbus, GERMANY
Bauhaus; design history; gender studies; 19th & 20th c. art

Erin Dusza
PhD Student, Indiana University,
Czech Art, late 19th century-early 20th century, art nouveau, folk art, identity, nationalism, worlds fair pavilions.

Elisaveta Dvorakk
PhD Candidate, Humboldt University of Berlin, Instituted for Art and Visual History, Journalistic Travel Photography and Political Aesthetics of the Documentary in 1930s; Critical Theory of Photography; Aesthetics of Totalitarianisms; Gender, Postcolonial and Post-Secular Theory

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Sabine Eckmann
Director of the Mildred Lane Kemper Museum at Washington University in St. Louis
modern and contemporary German art, art and politics, new media, art theory

April Eisman
Iowa State University, College of Design, Ames, IA 50010
East German (GDR) painting and its reception; art & politics since 1945

Cindy Evans
PhD Candidate at Florida State University
Modern and global contemporary art with special interests in postwar art in Germany and the Balkans

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Daniela Fabricus 

Michelle Facos
Professor, Indiana University, Dept. of Art History
19th & 20th c. Sweden and Germany; cultural identity; Symbolism

Lisa de la Mare Farber
Pace University
Renaissance & Reformation in Northern Europe

Susan Felleman
Professor, Art History & Film and Media Studies
University of South Carolina
Film and Media and Art History, Intermediality

Lori Felton 
Bryn Mawr
German and Austrian modernist art

Luke Fidler
Dept. Art History, University of Chicago
Medieval Art of Germany and Scandinavia
East German Art and Art History

Olivia Florek
Associate Professer of Art History, Delaware County Community College
Central European Art, nineteenth-century Art, female portraiture, Empress Elisabeth

Meghan Forbes
Postdoctoral Fellow, Leonard A. Lauder Research Center for Modern Art
early 20th c. Central European avant-gardes, print history, periodical studies

Eva Forgacs
Art Center College of Design, Pasadena
Central European & Russian Avant-Garde; contemporary art

Françoise Forster-Hahnn
Distinguished Professor Emerita, Department of the History of Art University of California, Riverside, CA
German & European cultural history

Peter H. Fox
Tulane University, Art, Architecture and Design, 1880-1945

Jamie Fredrick
Temple University
German Expressionist Painting

Christian Fuhrmeister 
Zentralinstitut für Kunstgeschichte, Munich
19th and 20th Century Art, translocation and provenance research

Susan Funkenstein
University of Pittsburgh
Weimar visual culture; dance history; gender studies

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Gediminas Gasparavicius
Myers School of Art, University of Akron, 150 E. Exchange St., Akron, OH 44325-7801
East European art, participatory and performance art, art and politics

Curt Germundson
Minnesota State Univ at Mankato, Art Dept.
Modern art; Dada; Constructivism

Lauren Graber
Getty Research Institute, Los Angeles
German and European modern and contemporary art; German politics; sound art and electronic music

Anne Grasselli
Postgradute Researcher, University of Edinburgh
German Modernism, Wassily Kandinsky, Bauhaus, Psychology of Visual Perception

Kerry Greaves
Postdoctoral Research Fellow,  Dept. of Arts and Cultural Studies, University of Copenhagen
Scandinavia, modernisms, exhibitions, collectives

Cordula Grewe

Beverly K. Grindstaff 
Associate Professor, School of Art and Design, San José State University, One Washington Square, ART 116 San Jose, CA 95192-0089
19th & 20th c. design history, art history & critical theory

Tomasz Grusiecki 
Assistant Professor of Art History, Boise State University
16th & 17th c. central European art; global art histories; cultural entanglement; art history from below; early modern power dynamics; centers & peripheries; European perceptions of the wider world; urban culture

Carolyn Guile
Associate Professor of Art and Art History, Colgate University                     East Central European Art and Architecture, Poland, Austrian Galacia 16th-20th cent.

Ksenya Gurshtein
2015-6 NEH Fellow

Andrea Gyorody 
Curatorial Assistant, Robert Gore Rifkind Center for German Expressionist Studies, LACMA
Postwar German art

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Thomas O. Haakenson
Associate Professor of Visual Studies and Critical Studies, California College of the Arts
German visual culture since 19th century, History of science and technology, Sexuality and gender

Amy Kelly Hamlin
St. Catherine University
Twentieth-Century German and American art and visual culture, historiography, contemporary critical theory, and Max Beckmann

Erin Hanas
Dada, Fluxus, Happenings, museums, archives

Lauren Hanson 
Doctoral Candidate, The University of Texas at Austin
20th-century German art and culture; exhibition practices; transatlantic artistic exchanges

Jack Hartnell
Ph.D. Lecturer in Art History, University of East Anglia, UK
Medieval art, visual culture, and medical history

Freyja Hartzell
Yale University
19th and 20th century European art and architecture; late 19th and early 20th century German applied arts

Charles Haxthausen
Robert Sterling Clark Professor of Art History, Emeritus, Williams College, 441 Hopper Road, Williamstown, MA 01267-3133
German 20th Century Art, Film, and Art Criticism, Sol LeWitt

Charlotte Healy
Senior Research Associate, Prints and Drawings, The Art Institute of Chicago 20th-century European and American art and design

Jürgen Heinrichs
Associate Professor of Art History, Seton Hall University  
Modern and contemporary German and American art and visual culture; African American art, history of art and medicine

Reinhold Heller
University of Chicago (Emeritus)
German and Scandinavian art, 19th & 20th c.

Joseph Henry
PhD Candidate, CUNY Graudate CenterExpressionism
Dada; Neue Sachlichkeit; Marxism; Wilhelmine Studies

Suzie Herman
Graduate Student Department of Art & Archaeology Princeton University
Early Modern Art, Architecture, Cartography, Portraiture, Hanse, Patronage Studies, Hanseatic League, Maritime History, Trade History, Trade organizations, Dutch East India Company, VOC, Dutch West India Company, WIC, Ships, Book History

Rachel Herschman
Curatorial Assistant, NYU, Institute for the Study of the Ancient World
Avant-Garde and Propaganda Puppetry in Early 20th Century Germany; Modernist reception of ancient art

Christiane Hertel

Vendula Hnidkova

Keith Holz
Western Illinois University
German art in Germany, France, CSR, England, 1890s-1960s; exile from Nazi Germany; critical theory; Holocaust commemoration

Rebecca Houze
Professor of Art and Design History, Northern Illinois University
Austria-Hungary, textile, fashion, exhibition, women designers 

Ivana Horacek
University of British Columbia
Collecting, Rudolf II, gifts

Karla Huebner
Professor, Wright State University
Czech modernism and visual culture, gender, periodical studies 

Stephanie Lebas Huber
Graduate Candidate, CUNY Graduate Center
Interwar painting, figuration, Magic Realism, Film, Dutch Painting

Aaron M. Hyman
Asst. Professor Johns Hopkins University, Netherlandish Art and its transmission, Print Circulation in 17th & 18th c., Amateur “craft” Habsburgs

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Toshino Iguchi
Saitama University, Faculty of Liberal Arts
Hungarian and Czech avant garde art and design, interwar period

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Michael James
Ph.D. student, Binghamton University
Danish Golden Age painting, Scandinavian landscape art

Rachel Jans 
Assistant Curator, San Francisco Museum of Modern Art
Postwar German art

Adam Jasienski
Department of History of Art & Architecture, Harvard University
Habsburg studies, portraiture, perceptions of Ottoman culture, Spain & Latin America in the Golden Age

Kristina Jõekalda 
Dr, Ass. Prof. / Senior Research Fellow Institute of Art History and Visual Culture, Estonian Academy of Arts, Tallinn
Eastern European, Baltic German and Estonian historiography, history of art history and heritage preservation, cultural identity, 19th-20th century

Cara Jordan
Provost’s Fellow in the Arts, Center for the Humanities, City University of New York Graduate Center
Joseph Beuys, postwar German art

Sharon Jordan 
Lehman College, City University of New York
German and Austrian Expressionism, 20th Century German art, Nietzsche

Frauke V. Josenhans 
Associate Curator, Moody Center for the Arts, Rice University
Independent Scholar and Curator
19th & 20th century German art; Société Anonyme Collection; Cultural transfer between Europe and the USA; Exile studies in the visual arts

Anna Jozefacka
Hunter College, City University of New York
19th to 21st-century art, architecture and urban design in Poland and other countries in Central and Eastern Europe

Jacqueline Jung
Associate Professor, Yale University
Gothic art and architecture, medieval religion and liturgy

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Jennifer Katanic
CUNY Grad. Center
Early Czech modernism

Katrina Katzenbach
German Art History, modernism, Performance Art History, Intellectual History

Klara Kemp-Welch
Lecturer, Courtauld Institute of Art
Central European Modern and Contemporary Art

Dara Kiese
Parsons School of Design
Bauhaus, modern design and architecture history

Dasol Kim 
PhD Student, Rice University
Medieval and Early Modern Northern European Art 

Lidia Klein
Duke University

Adrienne Kochman
Indiana University NW
19th-20th c. Germany; Russian Empire; Ukraine

Raphael Koenig
Ph.D. candidate, Comp. Lit., Harvard University
French, German, and Yiddish Modernism (Literature, Visual Culture, Art History)

Genevra Kornbluth
Kornbluth Photography
early Medieval art, esp. Merovingian and Carolingian

Juliet Koss
Gabrielle Jungels-Winkler Professor of the History of Architecture and Art; Chair, Department of Art History
Scripps College, 1030 Columbia Ave, Claremont, CA 91711
Modern European art, architecture, and aesthetic theory, with an emphasis on Germany and the USSR

Max Koss
PhD candidate, University of Chicago
German and European 19th and 20th century art and design, magazine history, histories of collecting and display

Irena Kossowska
Copernicus University in Torun, Poland
19th and 20th century art, art theory and criticism

Claudia Kreklau
PhD, Associate Lecturer, University of St Andrews
Gender, Food, Material Culture, Identity, Middle Classness, Space

Sabine Kriebel
University College Cork, Ireland
20th century German art, photography, visual culture

Katherine Kuenzli
Professor, Wesleyan University
European Modernism

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Karen Lang
University of Warwick, UK
German modernism; historiography; aesthetic theory

Carolyn Loeb
Residential College in the Arts and Humanities, Michigan State University
Berlin redevelopment, civic space, public art, and housing

Sebastian Löwe
aesthetic theory, art theory, kitsch theory, discourse theory and analysis, aesthetics and politics, realism in the arts

Rose-Carol Washton Long
CUNY Graduate Center
late 19th – 20th c. German; Russian Central European visual culture, esp. Weimar

Sarah Luginbill
University of Colorado Boulder
Medieval Europe, Christian materiality, devotional objects, reliquaries, portable altars, German lands c.900-1300

Martyna Lukasiewicz                                               
Adam Mickiewicz University, Poznan; National Museum in Poznan 
Poland Danish Art of 19th Century, Scandinavian Museology, Theory of Exhibition, Education

Megan Luke
Associate Professor, Art History, University of Southern California
19th and 20th century German art, architecture, and art writing; Dada, Constructivism, and Neue Sachlichkeit; history of photography and film; sculpture theory 

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John V. Maciuika
Baruch College, CUNY, Department of Fine and Performing Arts
Modern architecture and cultural identity; urbanism; German history. Geographic Focus: Germany, Austria, Lithuania, as well as Central & Eastern Europe in general

Michael Mackenzie
Professor, Grinnell College
German art and visual culture of the 1920s and 1930s; Neue Sachlichkeit; First World War; Modernist architecture; Postwar experiences and identities

Daniel Magilow 
University of Tennessee (Knoxville)
History of Photography; Weimar Germany; Holocaust Studies; German-Jewish Studies; Film/Cinema Studies.

Luise Mahler 
Independent Researcher
Early twentieth century modernism, with a focus on the German-speaking world and Italy. Her research interests include the evolution of abstract art, Cubism, transnational networks, and provenance studies.

Emily Gunzburger Makas
College of Architecture, University of North Carolina at Charlotte
Central Europe/Balkans, nationalism. Bosnia-Herzegovina, urban history, architecture

Maria Makela
California College of the Arts, Visual Studies; 5212 Broadway, Oakland, CA 94618
Modern German Culture

Catharina Manchanda 
Jon & Mary Shirley Curator of Modern & Contemporary Art, Seattle Art Museum
modern and contemporary art

Steven Mansbach
Dept. of Art History & Archaeology, 1211D Art/Sociology
University of Maryland, College Park, MD 24742
Central European modern art, Baltic to Balkans

Joanna Matuszak
Indiana University, Bloomington, IN
20th century Russian art, Central and Eastern European Art, women’s art, feminist art

Ewa Matyczyk
Junior Fellow, H+U+D, University of Pennsylvania
Eastern Europe, Poland/Warsaw, Cold War Era, Architecture/Built Environment, Memory Studies, Public Art, Social Practice

Erin Sullivan Maynes
Assistant Curator, Rifkind Center for German Expressionist Studies
Los Angeles County Museum of Art (LACMA)
print culture of German inflation and Notgeld, Weimar-era prints and works on paper, German prints and print culture

Barbara McCloskey
University of Pittsburgh, 104 Frick Fine Arts, Pittsburgh, PA 15620
German 20th c. art and politics; exile studies

Jacquelyn Delin McDonald
Adjunct Lecturer
German Art, American Art, Women Artists

Linda McGreevy
Old Dominion University
Critical Realism; Otto Dix; Käthe Kollwitz

Thor Mednick
Associate Professor, Art History, The University of Toledo

Christine Mehring
Professor and Chair; Adjunct Curator, University of Chicago; Smart Museum
20th century German and European art

Claudia Mesch 
Professor, School of Art, Arizona State University
East/West German cultural and artistic exchange; Charles White and the African American subject in GDR art; German and Italian Feminisms; Joseph Beuys and Fluxus fringe

Amelia Miholca
PhD Candidate, Arizona State University
East-Central modern and avant-garde art; Romanian art

Wallis Miller
Charles P. Graves Associate Professor, University of Kentucky
German modernism, exhibition and museum history, Architecture and Design, Architecture and War

Allison Morehead
Associate Professor
Queen’s University
Scandinavian modernisms; art and medicine; critical gender and race studies

Amanda Morrow
Student, Pratt Institute/Columbia University
18th-20th Century German and Austrian Architecture, Design, and Decorative Arts

Marsha Morton
Pratt Institute, New York
19th c. German

Eleanor F. Moseman
Colorado State University, Dept. of Art, Fort Collins, Co 80523
Early 20th Cent. Expressionism and Cubism in Central Europe

Peter Murphy
PhD Candidate, University of Rochester
Viennese Modernism, Postwar German Art, Figuration and painting, gender, sexuality, and queerness

Aleksander Musial
MPhil, Princeton University
Central and Eastern European classical reception and architectural history

Jeanne-Marie Musto
Independent Scholar
historiography of art, especially in Central Europe; book and library history

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Eelco Nagelsmit
University of Copenhagen, Denmark
Religious art and architecture in early modern Germany, France, Low Countries

Morgan Ng
Ph.D. candidate, Harvard University
Early modern art, Early modern architecture

Kristine Nielsen
Ph.D. candidate, University of Chicago
modern/contemporary European & American art; historiography & theory; iconoclasm

Peter Nisbet
Chief Curator, Ackland Art Museum
The University of North Carolina at Chapel Hill

Sydney Jane Norton
Saint Louis University
Post-1945 German, Austrian, and Swiss art, German Expressionism, Performing and Visual Arts, 1914-present

Irene Noy 
The Courtauld Institute of Art
Modern and contemporary art, sound art, gender, post WWII German art

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Bibi Obler
Dept. of Fine Arts & Art History, George Washington University
Dada and Expressionism; applied arts; feminist theory

Kelli Olgren-Leblond
University of Southern California, Art Dept. (Ph.D. Candidate)
19th & 20th c. German art & architecture

Claire Orenduff-Bartos
Ph.D. candidate, CUNY Graduate Center
Polish modernism; symbolist painting and sculpture in Central Europe

Elizabeth Otto
Professor of Modern and Contemporary Art History SUNY Buffalo
Bauhaus, Weimar Republic, Nazi Period, Gender, Sexuality, Experimental Religions, Art and Politics

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Miriam Paeslack
Visual Studies Department, The University at Buffalo, SUNY
19th & 20th c. photography, theory, methodology

MaryClair Pappas
PhD Candidate, Department of Art History, Indiana University
Scandinavian Art and German Art at the fin-de-siecle

Paul Paret
Associate Professor, Dept. of Art & Art History, University of Utah
20th c. art; history of sculpture; Weimar Germany

Nicholas Parkinson
Postdoc, Ny Carlsberg Glyptotek
19th-century Danish art; institutional history; monuments and cultural memory; historiography; Franco-Danish relationsBissera V. Pentcheva 
Associate Professor, Stanford University
Byzantine, Western, Islamic Medieval Art; music, acoustics, phenomenology

Dorothy Rowe Price
Professor of History of Art, University of Bristol, UK
German Modernism – Expressionism, Neue Sachlichkeit, Weimar visual culture, post-war Germany, Race, gender and sexuality in German modernism and post-war Britain.

Emily Pugh
Head of Digital Art History, The Getty Research Institute
Wall-era Berlin, postwar architecture and urban planning, architecture in visual media, digital technologies in art historical research and publications

Bart Pushaw
University of Maryland
19th and 20th-century Nordic and Baltic Art, global art history

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Diane Radycki
Associate Professor and Director of Payne Galllery, Moravian College, Bethlehem, Pa. 18018
Author, Paula Modersohn-Becker: The First Modern Woman Artist, Yale Univ. Press, 2013.

Jeannette Redensek
The Josef and Anni Albers Foundation, 88 Beacon Road, Bethany, CT 06524
German architecture & urbanism

Anne Reimers
University College London
Modern Art and Visual Culture in Germany and Austria, Art Market Studies, Art Criticism

Morgan Ridler 
The Cooper Union and Westchester Community College
Bauhaus, Mural and Wall Painting, Modern Architecture

Vanessa Rocco
Assistant Professor of Art History—Modern and Contemporary; Dept of Humanities and Fine Arts; Southern New Hampshire University; 2500 North River Road, Manchester NH 03106
European photography and exhibition culture

Katherine Rochester
Affiliated Fellow, Seminar für Filmwissenschaft, Freie Universität, Berlin, Germany
German modernism, Weimar studies, experimental animation, contemporary art, film

Lynette Roth
Daimler Curator of the Busch-Reisinger Museum and Head, Division of Modern and Contemporary Art, Harvard Art Museums, 32 Quincy Street, Cambridge, MA 02138 www.harvardartmuseums.org

Nicoletta Rousseva 
Independant scholar
20th Century art in Eastern Europe, performance art and film in the former

Allison Rudnick
CUNY Graduate Center
Postwar German art

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 José B. Segebre Salazar
Doctoral Student in Aesthetics, Hochschule für Gestaltung Offenbach
Contemporary Art, Critical, Postcolonial and Queer Theory

Jeffrey Saletnik
Indiana University
European modernism, visual culture of the interwar years, exchange between Europe and North America

Erin Eckhold Sassin
Assistant Professor
Department of the History of Art and Architecture, Middlebury College,
housing, social reform, gender

Nicholas Sawicki
Associate Professor of Art History, Lehigh University 
European modernism, early 20th century; Czech and Czechoslovak art; cubism, exhibitions, collecting 

Tamara Schenkenberg
Curator, Pulitzer Arts Foundation
Modern and Contemporary Art

Corine Schleif
Arizona State University

Kristin Schroeder
Postdoctoral Teaching Fellow, University of Virginia
Weimar, New Objectivity

Rainer Schützeichel
Eidgenössische Technische Hochschule Zürich
German architectural theory (19th and early 20th century), traditionalist architecture

Robin Schuldenfrei
The Courtauld Institute of Art
19th and 20th c. German architecture and design

Julia Secklehner
Courtauld Institute of Art
art history/visual culture

Hannah Shaw
PhD candidate, Rutgers University
August Sander, History of Photography

Niccola Shearman
Dr – freelance lecturer
20th C Germany and Austria – Weimar studies – Psychology of Vision 

Svitlana Shiells
George Mason University
Gustav Klimt

Sherwin Simmons
Professor Emeritus of Art History, University of Oregon
20th-Century German art and design history

Suzanna B. Simor
Associate Professor, Queens College/CUNY
late middle ages, early modern iconography, Central European art and culture

Øystein Sjåstad
Associate Professor in Art History, Department of Philosophy, Classics, History of Art and Ideas, University of Oslo
European painting 1860-1900, Christian Krohg, Semiotics, and Comics

Briana Smith 
Harvard University
Postwar German Art; East German Art; Performance and Action Art

Kimberly Smith
Southwestern University, P.O. Box 770, Georgetown, TX 78627-0770
Early 20th c. Central European art; history of art history; Expressionism

Andrea Snow
PhD Candidate, The University of North Carolina at Chapel Hill
Early medieval Scandinavian art and religion; memorials and commemoration; the agency of objects; the supernatural; magic; small metals; stone carvings; blood; monsters and the monstrous.

Peter Sproule
PhD Candidate, Queen’s University
20th and 21st century art and visual culture, German men’s fashion illustration

Claudia Marion Stemberger 
Department of Art, Art History & Visual Studies, Duke University

Pepper Stetler 
Assistant Professor, Miami University
Early twentieth-century German visual culture

Paul Stirton
Associate Professor, Bard Graduate Center New York
Hungarian and Central European art and design, c. 1850-1970

Eleanor Stoltzfus 
Ph.D. Candidate, University of Maryland
Central and Eastern European Art in the Twentieth-Century, Photography, Soviet Avant-Garde Theater

Elizabeth Doe Stone
PhD candidate, University of Virginia

Adrian Sudhalter
Early 20c modern art, Dada, Bauhaus, modernism’s infrastructure

Alice Isabella Sullivan 
Getty/ACLS Postdoctoral Fellow in the History of Art
late medieval/early modern art, architecture, and visual culture in Central Europe and the Byzantine-Slavic cultural spheres; image theory; historiography; cross cultural contacts; patronage, monasticism

Leah Sweet 
Postwar German art, Joseph Beuys, food and art, religion and art

Andrzej Szczerski
Institute of Art History, Jagiellon University, Krakow, Poland
Arts & Crafts Movement in Central Europe; modernism in Central Europe(art, design, and architecture); Polish art after 1945

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Gregor Taul
PhD Candidate, Lisbon Consortium
architecture and cultural identity, postwar architecture and urban planning, 20th-century Baltic art, mural and wall painting, art theory and criticism

Tobias Teutenberg
Postdoc at University of Zurich/MPI Bibliotheca Hertziana, Rome
Art History an Visual Culture of the 19th and 20th centuries.

Laura Tillery
Postdoctoral Fellow, Norwegian University of Science and Technology
Late medieval and early modern art in northern Germany, the Baltic and North Seas; Hanse trade; altarpieces; medieval Scandinavia 

Nathan Timpano
Assistant Professor of Art History, University of Miami
19th and 20th c. European art; German and Austrian symbolism & expressionism

Jordan Troeller 
Doctoral Student, Harvard University
Bauhaus, Central European and Russian avant-gardes in Germany

Vanessa Troiano 
Enhanced Chancellor’s Fellow, CUNY Graduate Center
Modern and Contemporary German and Austrian Art

Joyce Tsai
Clinical Associate Professor of Art Education, College of Education, University of Iowa
Curator, University of Iowa Museum of Art

Jasmina Tumbas 
Assistant Professor, Department of Art, University at Buffalo SUNY
East European experimental art after 1945; histories and theories of performance, body and conceptual art; Contemporary Roma art; art and activism; feminism and art; modern and contemporary art and theory; politics of contemporary visual culture; critical theory

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James Van Dyke
University of Missouri-Columbia, Department of Art History & Archaeology
109 Pickard Hall
Columbia, MO 65211-1420
Tel. 573-882-9532 Fax. 573-884-5269
New Objectivity; art in the Third Reich; Holocaust representation in German art; Weimar academies; Third Reich historic preservation

Michelle Vangen
Adjunct Assistant Professor
Early 20th Century German Art, Neue Sachlichkeit

Dora Vanette 
Ph.D. Student USC
History and theory of interiors with a focus on ideas of domesticity. Design and childhood. 20th century architecture and design in Central and Eastern Europe

Naomi Vaughan
Ph.D. Candidate
German Fascist aesthetics and architectural media, bureaucracy and built representation; theories of sovereignty; visual media; exhibition, presevation and demolition of fascist architecture

Brett Van Hoesen

M. Elena Versari 
Carnegie Mellon University
Futurism, the international avant-garde, internationalism and nationalism in the arts, totalitarian aesthetics, architecture, design and conservation

Ilka Voermann
Renke B. and Pamela M. Thye Fellow, Busch-Reisinger Museum, Harvard University
Twentieth- and Twentyfirst-Century Art, Postwar German Art

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Christy Wahl
German Modernism

Lucy Wasensteiner
University of Bonn, Department of Art History
Modern German art; National Socialist cultural policy; art in exile after 1933; provenance research and restitution; the reception of German art in the English-speaking world

Mate Wates
Contemporary German Art

Christian Weikop
Dr. Senior Lecturer in Modern and Contemporary Art
ECA, University of Edinburgh
20th cent. German Art, especially Expressionism, Dada, and Post-45 artists

Michael White
Professor of History of Art, University of York
The history and theory of the European avant-gardes and their legacies, particularly Dada and De Stijl

Dora Wiebenson
Editor-in-Chief, Centropa
Central European architecture & related arts

Robert Wiesenberger
Associate Curator of Contemporary Projects, Clark Art Institute
Modern and Contemporary Art, Design and Architecture

Gregory Williams
Associate Professor
History of Art & Architecture, Boston University German art since 1940, contemporary art and theory

Isabel Wünsche
School of Humanities & Social Sciences, Jacobs University, Campus Ring 1, Research IV, 28759 Bremen, Germany http://www.jacobs-university.de/shss/iwuensche
European modernism and the avant-garde movements, the Bauhaus, biocentrism, abstraction

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Michael Yonan
Department of Art History and Archaeology, University of Missouri, 109 Pickard Hall Columbia, MO 65211-1420
18th c. art; Habsburg Empire; Rococo architecture

Hyewon Yoon 
Lecturer, University of New Hampshire
European and American Modern Art & History of Photography

Andres Zervigon
Professor, Rutgers University
History of Photography

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member updates


Dr. Sabine Kriebel,  University College Cork, Ireland, has been appointed a Paul Mellon Visiting Senior Fellow at the Center for Advanced Study in the Visual Arts in November/December 2021 to complete research on Germaine Krull and Florence Henri for her forthcoming book Objectivity Obliquely: Rethinking the Neue Sachlichkeit.

Elizabeth (Libby) Otto, Professor of Modern & Contemporary Art History at SUNY Buffalo, will spend the 2021-22 academic year as a Fellow at the Getty Research Institute, where she will be working on her next book, “Bauhaus Under National Socialism.” She plans to complete the project in 2022-23, during which time she will hold a research fellowship from the Gerda Henkel Foundation and a fellowship at the Mandel Center for Advanced Holocaust Studies at the US Holocaust Memorial Museum.

Juliet Koss, Gabrielle Jungels-Winkler Professor of the History of Architecture & Art at Scripps College in Claremont, California, will be a Senior Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery in Washington DC in 2021-22.

Jean Marie Carey has been awarded a Marie Sklodowska Curie Actions Postdoctoral Fellowship along with a U.S.-Norway Fulbright Foundation Scholarship at the Arkeologisk Museum of Universitetet i Stavanger in Stavanger, Norway. The three-year project, “Prehistoric Paradigms of ‘Animalised’ Art from Modernist Visions of Utopia to Post-History” is a collaboration amid art historians, curators, archivists, archaeologists, and animal welfare workers. An attendant exhibition, “Eden and Everything After,” will take place at sites around Stavanger, Oslo, Svalbard, and Bodø.

During 2019 Carey took the photographs in Germany, Belgium, and Norway that have just been published in The Pornography of Meat: New and Updated by Carol Adams (London: Bloomsbury, 2020).

The second edition of Irena Kossowska’s, Professor of Art History at the Copernicus University in Torun, Poland, Artystyczna rekonkwista: Sztuka w międzywojennej Polsce i Europie (Artistic Reconquest: Art in Interwar Poland and Europe, Torun: Nicolaus Copernicus University Press, 2017) is forthcoming from the same publisher in the fall of 2021 (572 pages, 655 color illustrations; https://wydawnictwo.umk.pl/en/products/4256/artystyczna-rekonkwista-sztuka-w-miedzywojennej-polsce-i-europie). The publication has been supported by the Lanckoronski Foundation and the National Center for Science.

In December 2020, Michelle Facos spoke on “Moving, Showing, Using, Watching: The Circulation of Baltic Art and Artists in the Long Nineteenth Century” at Greifswald University, Germany.

Diane Radycki, Professor of Art History Emerita, Moravian College, Bethlehem, Penna., presented a zoom lecture,  “Making My Claim in Another Way: The Nudes of Paula Modersohn-Becker,” in the Worcester Art Museum’s Master Series, November 2020.  The focus of the lecture was the WAM’s recent acquisition of Modersohn-Becker’s 1901 Nude Boys by a Moor Canal.

In Feburary 2021 Dr. Radycki will be interviewed about the painter Paula Modersohn-Becker for an episode of The Great Women Artists Podcast (host Katy Hessel, London).

Peter Chametzky’s book, Turks, Jews, and Other Germans in Contemporary Art is forthcoming from MIT Press in September 2021. The illustration program of 108 color and 17 black-and-white figures has been supported by a Spring 2020 grant from CAA’s Millard Meiss Publication Fund. In summer 2020 Peter participated in the online symposium “Goodbye Photomontage?” in connection with the exhibition at the Akademie der Künste, Berlin, John Heartfield: Photography Plus Dynamite. The symposium will appear as the book John Heartfield. Montage oder Fake News, ed. Angela Lammert (Berlin: Akademie der Künste & Steidl Verlag, 2021).

Kerry Greaves, Assistant Professor at the University of Copenhagen, has edited a new anthology out this spring: Modern Women Artists in the Nordic Countries, 1900-1960 (Routledge). She also recently started as PI of the research project Feminist Emergency based at the university of Copenhagenwhich considers the contribution and culturally specific conditions of women artists and feminist art in the Nordic region over the last sixty years. The project has established the Nordic Feminist Art Histories Research Network, which consists of over 50 scholars, artists, critics, and curators specializing on the region, and will soon hire a postdoc in contemporary Nordic art. If you or someone you know would like to apply for the position, please check CAA in the coming weeks or contact Kerry Greaves (lkr893@ku.dk).

Juliet Koss, Gabrielle Jungels-Winkler Professor of the History of Architecture & Art at Scripps College in Claremont, California, will be a Visiting Scholar at the Harriman Institute for Russian, Eurasian, and East European Studies at Columbia University in spring 2020.

Rosemarie Haag Bletter’s participation in a workshop on identifying present-day misunderstandings about the Bauhaus was published as:

“Talking About the Bauhaus: Rosemarie Haag Bletter, Barry Bergdoll, and Mary McLeod,” Architectural Record​ (June 2019).

Nicholas Sawicki spent the spring semester of 2019 as Distinguished Scholar at the Leonard A. Lauder Research Center for Modern Art at the Metropolitan Museum of Art, where he advanced work on a new book project and completed a study of the cubism collector and curator Douglas Cooper, with additional support from the Getty Research Institute.  He has also recently collaborated with colleagues at the Metropolitan Museum of Art and the Institute of Art History of the Czech Academy of Sciences on an online digital edition of previously unpublished archival documentation from Pablo Picasso’s exhibition at the Moderne Galerie in Munich in 1913, the artist’s first retrospective.

Michelle Facos is spending October-December 2019 at Greifswald University funded by a fellowship from the Alexander von Humboldt Foundation in order to work on her project Visual Culture Exchange Across the Baltic Sea Region 1772-1918, her edited volume (containing chapters by HGSCEA members) A Companion to 19th-Century Art was published by Wiley-Blackwell in Fall 2018.

Lauren Hanson is the 2019-2021 Stefan Engelhorn Curatorial Fellow in the Busch-Reisinger Museum at the Harvard Art Museums.

Lin Barton has been working on the Database of Art Objects at the Jeu de Paume since 2015, creating and editing records of art objects stolen during WWII, also providing research regarding post confiscation history, repatriation and restitution. Currently she is working on the Goudstikker collection from notebook records.

Charles Haxthausen has been named Leonard A. Lauder Distinguished Scholar at the Metropolitan Museum’s Leonard A. Lauder Research Center for Modern Art from October 2019 through May 2020.

He also presented the papers:

“The Cathedral of Cinema: Fritz Lang’s Metropolis.” Keynote lecture at the conference, The Resonant Object, Clark Art Institute, Williamstown, May 18, 2019

“ ‘. . . Not a Book about Braque’: Notes on Carl Einstein’s ‘Monograph’ “. At the conference Deep Time and Crisis, c. 1930. Haus der Kulturen der Welt, Berlin, May 27, 2019 https://www.hkw.de/en/programm/projekte/veranstaltung/p_140817.php

“ ‘A ‘Modest Beginning’” Carl Einstein’s Afrikanische Plastik,” at the conference Art History and Anthropology—Early Encounters, Universität Siegen, June 7, 2019

“A ‘Mythology of Forms’: Carl Einstein on Picasso.” At the conference Picasso and History, Museo Picasso, Málaga, October 9, 2019. https://www.museopicassomalaga.org/iv-congreso-internacional-picasso-e-historia/en/speakers/charles-w-haxthausen.php

Susan Funkenstein’s book, Marking Modern Movement: Dance and Gender in the Visual Imagery of the Weimar Republic, is under contract at the University of Michigan Press, anticipated late Summer 2020.

Adrian Sudhalter spent nine months, by invitation, as a 2018-2019 Distinguished Scholar in residence at the Leonard A. Lauder Research Center for Modern Art, The Metropolitan Museum of Art, New York.  During this time, she presented “Cubism under Dada Scrutiny,” a lecture which emphasized the centrality of photography to Dada’s critique of the prewar avant-garde, and completed a major essay on MoMA’s little-known 1948 Collage exhibition, which will be published in Spring 2020.

Libby Otto co-curated the exhibition 4 “Bauhausmädels”:  Gertrud Arndt, Marianne Brandt, Margarete Heymann, Margaretha Reichardt, Angermuseum, Erfurt, up until June 16th. The exhibition has a bilingual catalogue, with substantive essays on each of these 4 Bauhaus members

She also published: Bauhaus Women: A Global Perspective (Bloomsbury/Herbert Press); the book profiles 45 Bauhaus women. Co-authored with Patrick Rössler (and a few guests), Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism’s Legendary Art School (Bloombsbury Visual Arts); this is an edited volume that contains groundbreaking essays by many HGSCEA authors, and the single-authored book, Haunted Bauhaus: Occult Spirituality, Gender Fluidity, Queer Identities, and Radical Politics, will be published by MIT Press in September of this year.

Eva Forgacs has spoken in a number of recent conferences:

“Hidden in Plain Sight. Hungarian Art 1960-1980s” Keynote address, HSAC (Hungarian Studies Association Canada), Vancouver, University of British Columbia, June 1, 2019.

“Bauhaus Pegagogy and Politics”, Central European University, Budapest, May 2, 20019

“Diasporic Bauhaus”, CAA, New York, Feb. 17, 2019

“History Too Fast. Arts and the State in Eastern Europe”, Warsaw, November 24, 2018

“Bauhaus Imaginista” Seminar, China Academy of Art, Hangzhou, April 9-10, 2018

“Rethinking Europe: Artistic Production and Discourses on Art in the Late 1940s and 1950s”, University of Tübingen, February 2018

Together with the Finnish colleagues, Tutta Palin and Riikka Stewen, from the University of Turku, Isabel Wünsche received a two-year research grant funded by the Finnish Academy & DAAD to conduct the joint research project “German-Finnish Artistic Relations and Cultural Exchange in the 20th Century” in 2019-20.

Rosemarie H. Bletter took part in a workshop on April 11-12, 2018, at the Getty Research Institute, Los Angeles, in preparation for the exhibition
“Bauhaus Beginnings” [on the Weimar Bauhaus and largely based on Getty holdings] June 11 – October 13, 2019.

Bletter will also participate in a round-table discussion on “The Bauhaus at 100” at  Architectural Record on April 7, 2019 (with Suzanne Stephens, Barry Bergdoll, and Mary McLeod) to be published in the June issue of the magazine.

Marsha Morton‘s book Max Klinger and Wilhelmine Society: On the Threshold of German Modernism  (2014) has been selected by Routledge/Taylor Francis to be issued in a paperback edition.

Jay Clarke will be moving from the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, to the Art Institute of Chicago, where she has been named the new Rothman Family Curator in the Department of Prints and Drawings.


Maria Makela was the recipient of the DAAD article prize, awarded at the annual conference of the German Studies Association.

Rosemarie Bletter was named a Fellow in 2017 by the Society of Architectural Historians.

She was also a commentator in the film “Un Soleil Difficile” by the artist and filmmaker Francois Lemieux. It deals with questions of transparency and was shown at Vox International, Montreal, Jan. 14 – March 18, 2017.

Susanneh Bieber won the 2017 Terra Foundation for American Art International Essay Prize. Her award-winning essay, “Going Back to Kansas City: The Origins of Judd’s Minimal Art,” will appear in a forthcoming issue of American Art, the peer-reviewed journal co-published by the Smithsonian American Art Museum and the University of Chicago Press.

Michelle Facos received an ACLS fellowship for 2017-18 in order to continue her research on the Copenhagen Academy circa 1800.
Facos and Bart Pushaw are organizing a conference, ‘Visual Culture Exchange Across the Baltic Sea Region 1772-1918’, to be held at the Alfred Krupp Wissenschaftskolleg Greifswald and co-sponsored by the University of Greifswald 15-17 June; HGSCEA member Thor J. Medick will be one of the keynote speakers.

Steven Mansbach was named Distinguished University Professor, the highest honor bestowed on a faculty person at the University of Maryland, on September 14, 2016.

Vivian Barnett organized the Alexei Jawlensky retrospective which will open at the Neue Galerie in New York in February 2017. She is also preparing a Franz Marc and August Macke exhibition for autumn 2018 at the Neue Galerie.

Annie Bourneuf’s (Assistant Professor, School of the Art Institute of Chicago) book Paul Klee: The Visible and the Legible (Chicago: University of Chicago Press, 2015) was awarded the 2016 Robert Motherwell Book Award. She gave gave a paper on Quaytman’s discovery of the engraved portrait of Luther nested in Klee’s Angelus Novus at the colloquium Paul Klee—Regards nouveaux hosted by the Centre Pompidou in May this year.

Eric Anderson (Associate Professor, History of Art and Visual Culture, RISD) will be spending the spring term 2017 in Vienna as Fulbright-Freud Visiting Scholar at the Sigmund Freud Museum. He will be giving several lectures related to this research: “Freud’s Colors: Design and Psychology in Nineteenth-Century Vienna” at the Middlebury College Museum of Art, October 10, 2016; and “Dreams in Red: Color and the Interior from Goethe to Freud” at the University of East Anglia, Norwich, UK, April 27, 2016. He will also be participating in a symposium at the China Design Museum in Hangzhou called “The Bauhaus and Modern Western Design,” November 14-18, 2016. His lecture will there will be titled “Museums and Design Reform in the Nineteenth Century: Vienna and Beyond.”

Esra Akcan received the 2016-17 Berlin Prize, American Academy in Berlin, Fall 2016

Mark Haxthausen is retired—from teaching. He is now the Robert Sterling Clark Professor of Art History Emeritus!

Juliet Koss (Associate Professor and Chair, Department of Art History, Scripps College, Claremont) chaired the HGSCEA Emerging Scholars session at CAA in DC in February 2016. In spring 2016 she is a Clark Fellow at the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts, writing a book entitled “Model Soviets.”

Dorothy Price, Reader in the History of Art at the University of Bristol, UK, co-convened (with Camilla Smith) a session at the 41st Annual Association of Art Historians Conference at UEA Norwich in April 2015 on ‘Weimars Other: Visual Culture in Germany after 1918’. She also delivered a lecture at the Pratt Institute New York in April 2015 entitled ‘Narrating Weimar Women’s Photographic Identities’ and has recently contributed to the Neue Galerie’s current exhibition and catalogue Berlin Metropolis 1918-1933 with a catalogue essay on ‘The New Woman in 1920s Berlin’ (published October 2015). She is currently preparing two new monographs, one provisionally entitled Käthe Kollwitz: Between Expressionism and Symbolism, the other Icons of Modernity: Women and Photography in Weimar Germany whilst in the planning stages of a major new exhibition German Expressionism: The Cult of Youth co-curated with Drs Jill Lloyd, Christian Weikop and Adrian Locke for the Royal Academy of Arts, London, Spring 2019.

Rosemarie Bletter, Professor Emerita, Graduate Center, CUNY, gave a talk in the session “Fantastic Architecture: Berlin’s Expressionist Heritage” and responded to Christoph Rauhut’s book Fragments of Metropolis Berlin (2015), Goethe Institute, New York University, June 11, 2015.

Peter Chametzky, Professor of Art History, delivered the Festvortrag (Keynote Lecture), “Revising and Refunctioning as Restitution,” (in German), at the opening ceremony for the inaugural exhibition of the Kunsthaus Dahlem museum in Berlin on June 11, 2015. His chapter “Postcards on the Edge in Nazi Germany,” is forthcoming in “Carte Postale et Création,” ed. Isabelle Ewig, Emmanuel Guigon, Line Herbert-Arnaud (Presses de l’Université Paris Sorbonne: PUPS, 2015.

Marsha Morton, Professor, Pratt Institute, delivered a paper, “Picturing the Perils of Finance Capitalism: German Illustrators and the 1873 Crash,” at the conference “The Illustration Research Symposium: The Illustrator as Public Intellectual,’ November 5-7, 2015 at the Rhode Island School of Design. 

Linda McGreevy, Professor Emerita, Old Dominion University, is continuing to work on the biography of Kaethe Kollwitz. At this point, the German Ur-texts (the diaries, the letters to her son Hans, Bonus-Jeep’s memoirs) are translated or nearly finished, and the “pre-text” is over 800 pages (to be used for the final text). Research on both world wars, Whilhemine society, on Weimar, on other women artists, on Goethe and the effects of the Bildung, on the Youth Movement, the satirical journals, and a variety of contextual matters relevant to her life are complete or underway. A meeting with the eminent historian of the First World War, Jay Winter, has given her much encouragement, and the wind is at her back! Thirteen years in and the end is finally in reach! 

Françoise Forster-Hahn gave the following lectures: “The Changing Incarnations of the National Gallery in Berlin: Symbol of Art and Nationhood before, during and after the Wars,” AAH2015 Annual Conference, University of East Anglia, Norwich, April 2015; “Der Kanon der modernen Kunst in Text und Bild: Meier-Graefes Entwicklungsgeschichte (1904) und die deutsche Jahrhundertausstellung 1906 in Berlin, Julius Meier-Graefe: Grenzgänger der Künste Conference, Berlin, Max Liebermann Haus, March 2015.  

Maria Makela, Professor of Visual Studies, California College of the Arts, gave a paper titled “Making Lemonade out of Lemons: Merz and Material Poverty,” at the Association of Art Historians Conference in Norwich, England, 11 April 2015, in the session on “Weimar’s ‘Other:’ Visual Culture in Germany after 1918. 

Nicholas Sawicki, Assistant Professor of Art History, Lehigh University, gave a paper at the HGCEA sponsored symposium “Charting Cubism Across Central and Eastern Europe” at the Metropolitan Museum of Art in February 2015 and at “Decoding the Periodical: A Workshop in Slavic, East European and Eurasian Periodical Studies” at Princeton University in March 2015.