HGSCEA Emerging Scholars Prizewinners
2020 Winners
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
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.
2018
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.
2017
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.
2016
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
2015
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
2014
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
2013
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
2012
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