Emerging Scholar Prize Archive

HGSCEA Emerging Scholars Prizewinners

2022 Winner

Korola, Katerina. “The Air of Objectivity: Albert Renger-Patzsch and the Photography of Industry.” Representations 157 (Winter 2022): 90-114. DOI: https://doi.org/10.1525/rep.2022.157.5.90

2021  Winner

Blaylock, Sara. “Being the Woman They Wanted Her to Be: Cornelia Schleime Performs Her Stasi File.” Third Text 35, no. 2, (2021): 227- 247.  DOI: 10.1080/09528822.2020.1867362

Honorable Mention

Smith, Briana J. “Grassroots Glasnost: Experimental Art, Participation, and Civic Life in 1980s East Berlin.” The American Historical Review 126, no. 2 (June 2021): 623–654. https://doi.org/10.1093/ahr/rhab201

2020 Winners

Musiał, Aleksander. “Mentem mortalia tangunt – Fragments and Fetishes in Puławy Landscape Garden (1794-1831).” Oxford Art Journal 42, no. 3 (December 2019): 355–372. https://doi.org/10.1093/oxartj/kcz020 (Published 2020)

Honorable Mention:

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

2019 Winners

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

Honorable Mentions:

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

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

2018 Winners

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

Honorable Mention:

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

2017 Winners

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

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

Honorable Mention:

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

2016 Winners

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

Honorable Mention:

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

2015 Winners    

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

Honorable Mention:

Tsai, Joyce. “Lines of Sight: László Moholy-Nagy and the Optics of Military Surveillance.” Artforum 54, no. 3 (November 2015): 272-78.:

2014 Winners

Jasienski, Adam. “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:

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

2013 Winners

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

Honorable Mention:

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

2012 Winners  

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

Honorable Mentions:

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

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

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.

Due at the end of the calendar year.

Submission Requirements:

  • English language from electronic or print publications
  • Publication date of that year
  • Applicants must be either current Ph.D. students or have earned a Ph.D. in the last 5 years
  • Applicants must be members of HGSCEA at the time of application (Join Here)

The recipient of the Prize (along with honorable mentions as appropriate) will be chosen by the members of the HGSCEA Board, notified in late January, and publicly announced in February.

Submissions should include a copy of the publication and a CV. They should be sent as electronic attachments to HGSCEA’s Secretary.

Emerging Scholars Essay Prize, 2023

Call for Submissions

Submissions are now being accepted for the 12th annual HGSCEA Emerging Scholars Essay Prize, an award of $500 given to the author of a distinguished article or essay published this year on any topic in the history of German, Scandinavian, or Central European art, architecture, design, or visual culture. Submissions, which must be in English and may be from electronic or print publications, must have a publication date of 2023. Applicants must be either current Ph.D. students or have earned a Ph.D. in or after 2019, and must be members of HGSCEA at the time of submission (http://hgscea.org/hgscea-membership-form/). The recipient of the Prize (along with honorable mentions as appropriate) will be chosen by the members of the HGSCEA Board, notified in January 2024, and publicly announced at the HGSCEA member’s dinner at CAA in February. Submissions should include a copy of the publication and a CV. They should be sent as electronic attachments to HGSCEA’s Secretary, Professor Jenny Anger (anger@grinnell.edu), by December 22, 2023.

2022 Winner

Korola, Katerina. “The Air of Objectivity: Albert Renger-Patzsch and the Photography of Industry.” Representations 157 (Winter 2022): 90-114.

Past Winner Archive

HGSCEA publications


Publications for the past five years are listed below.


Isabel Rousset, “Ludwig Hoffmann’s Eclecticism“, Architectural Histories 12, no. 1 (2024), 1–37


Eva Forgacs “Towards a European Integration of the Arts and the Art Discourse”, in Antje Kempe, Beáta Hock and Marina Dmitrieva, eds., Universal – International – Global. Art Historiographies of Socialist Eastern Europe, Wien, Köln, Böhlau Verlag, 2023.

Tomasz Grusiecki, “Locating the Material: Prussian Carved Ambers, Place Ambiguity, and a New Geography of Central European Art.” German History 41, no. 3 (2023): 444–471.

Mark Haxthausen,“Fatal Attraction: Carl Einstein’s ‘Ethnological’ Turn,” in: Art and Anthropology” Modern Encounters, 1870– 1980, ed. Joseph Imorde and Peter Probst, Los Angeles: Getty Publications, 2023, pp. 123–45.

____.“Kairouan, or a Tale of the Critic Hausenstein and the Painter Klee,” Zwitscher-Maschine 14 (Autumn 2023), pp. 16–70. https://www.zwitscher-maschine.org/kairouan-or-a-tale-of-the-critic-hausenstein-and-the-painter-klee

Andrés Zervigón “Visible Yet Transparent: The Lens in Nineteen-Century Photographic Cultures,” Critical Inquiry Vol. 49, Issue 4 (Summer 2023): 626-662.

____. Review of Juliet Hacking and Joanne Lukitch, eds., Photography and the Arts: Essays on Nineteenth-Century Practices and Debates, London, Bloomsbury, 2020. In 19th-Century Art Worldwide, Vol. 22, No. 1 (Spring 2023). Available at this link.


Eva Forgacs, “Responses to the First Russian Art Exhibition”, in Isabel Wünsche, Miriam Leimer, eds., 100 Years On. Revisiting the First Russian Art Exhibition, Wien, Köln, Böhlau Verlag, 2022.

_____,”History Too Fast”, in Agnieszka Chmielewska, Irena Kossowska, Marcin Lachowski, eds.,State Construction and Art in East Central Europe 1918-2018, New York, London, Routledge, 2022.

_____, “War as a Psychological,Social and Intellectual Experience”, in Lidia Gluchowska, Vojtech Lahoda, eds., Nationalism and Cosmopolitanism in the Avant-Garde and Modernism, Prague, Institue of Art History, Czech Academy of Sciences, 2022.

_____,”Alfred Kemeny and the Hungarian Political Left in Berlin Art during the Early 1920s”, in Ralf Burmeister, Thomas Köhler, László Baán, András Zwickl, eds., Magyar Modern. Hungarian Art in Berlin 1910-1933, Berlin, Hirmer Verlag,Budapest, Museum of Fine Arts, 2022.

Françoise Forster-Hahn, “Käthe Kollwitz in Los Angeles 1937: Eine neue Lesart im Kreis der Hollywood-Anti-Nazi League,” in: Seismographen und Orientierungsspiegel. Bilder der Welt in kurzen Kunstgeschichten, ed. by Lena Crasemann, Benjamin Fellmann und Yannis Hadjinicolaou, Berlin, De Gruyter, 2022, pp. 148-153

_____, “Unterwegs-Sein zwischen Zeiten und Orten: Max Beckmanns ‘Heimatgefühl im Kosmos’ und die Dialektik des Exils,” in:
Max Beckmann Departure, ed. by Oliver Kase, Christiane Zeiller, Cornelia Zetzsche,  Munich, Pinakothek der Moderne, pp. 89-91.

Juliet Koss, “During the Bauhaus,” in After the Bauhaus, Before the Internet: A History of Graphic Design Pedagogy, ed. Geoff Kaplan. Cambridge Mass.: no place/MIT Press, 2022, 74–85

_____., review of Anna Bokov, Avant-Garde as Method: Vkhutemas and the Pedagogy of Space, 1920-1930 (Zurich: Park Books, 2020), Slavic Review 81, no. 3 (Fall 2022): 841-43

Marsha Morton, “Max Klinger’s Brahmsphantasie: The Physiological Sublime, Embodiment, and Male Identity,” in Nineteenth-Century Art Worldwide, Vol. 21, Issue 1, Spring 2022.

Morgan Ridler, “Color and Architecture: Walter Gropius and Bauhaus Wall Painting Workshop in Collaboration, 1922-1926,” Architectural Histories, 10 no. 1 (2022): 1-27.

Isabel Rousset, ‘The Kleinhaus and the politics of localism in German architecture and planning, c. 1910’, Urban Planning 7:1 (2022), 254–66

James A. van Dyke, “Modernism and the State: German Art Academies in Crisis during the Weimar Republic,” Kunstchronik (Munich) 75, no. 5 (May 2022): 218-26.

Andres Zervigon, “Visual Explosion in the Weimar Era’s Print Media.” In Material Modernity: Innovations in Art, Design and Architecture in the Weimar Republic, edited by Deborah Ascher Barnstone and Maria Makela, 115-139. London: Bloomsbury, 2022.


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.

Keith Holz,“Witness to Global Realignments and Human Suffering: Oskar Kokoschka in Post-War London.” In: Sites of Interchange: Modernism, Politics, and Culture in Britain and Germany, 1919-1951.” Edited by Lucy Wasensteiner. Series: German Visual Culture, Vol. 8. Series editor: Christian Weikop. New York and Frankfurt:  Peter Lang Publishing, 2021, 283-302.

____.“Oskar Kokoschkas Amerika Kampagne,” & “Oskar Kokoschka’s American Campaign.” In: Oskar Kokoschka: New Perspectives. Edited by Régine Bonnefoit and Bernadette Reinhold. Berlin: deGruyter Verlag, 2021, 168-186, 187-203. (print & e-book editions)

____.“Handicrafts under duress: interwar representations in word and image of German Bohemian glass workers.” In: Modern Realist Approaches across the Czechoslovak Scene, 1918-1945. Ivo Haban & Anna Habanová, eds., Stephan von Pohl, translator. Liberec: Regional Art Gallery & Liberec: National Heritage Institute, English edition, 2021, 130-147.

Juliet Koss, review of Katherine Zubovich, Moscow Monumental: Soviet Skyscrapers and Urban Life in Moscow’s Capital (Princeton: Princeton University Press, 2021), Slavonic and East European Review vol. 99, no. 4 (October 2021): 784–86

Barbara McCloskey, “White Supremacy and the Art of Anti-Fascism in the United States and Germany between the World Wars, Kunst und Politik (vol. 23, 2021): 101-109.

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.

Isabel Rousset, ‘Those Who Live in Glass Houses Shouldn’t Throw Stones’ in Activism at Home: Architects Dwelling between Politics, Aesthetics and Resistance, eds. Janina Gosseye and Isabelle Doucet (Berlin: Jovis, 2021), pp. 27–37

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 .

Isabel Rousset, ‘The Worker’s House’, Architectural Theory Review 24:1 (2020), 46–68

James A. van Dyke, “German Art and War in the Year 1932,” Oxford German Studies, 49, no. 4 (December 2020): 336-62. Special issue: Aftermath – German Culture in the Wake of World War I, edited by Catherine Smale and Tara Talwar Windsor.

____. “On Masculinity and Male Sexuality in Ernst Ludwig Kirchner’s Soldiers’ Bath,” Art History 43, no. 5 (November 2020): 892-926.

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.

Charlotte Healy, “Knotted, Woven, Unraveling: Textile as Structure in the Work of Paul Klee,” in Textile Moderne / Textile Modernism, ed. Burcu Dogramaci (Cologne: Böhlau, 2019), 119–30.

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.

James A. van Dyke, “Style,” Kunst und Politik. Jahrbuch der Guernica-Gesellschaft (special issue: “Keywords for Marxist Art History Today,” ed. Andrew Hemingway and Larne Abse Gogarty) 21 (2019): 149-56.

____. “On the Possibility of Resistance in Two Silverpoints by Otto Dix,” in: Art and Resistance in Germany, ed. Elizabeth Otto and Deborah Ascher Barnstone (New York: Bloomsbury Visual Arts, 2019), 151-72.

____. “Dix und die Illustrierte Moderne,” in: Egger-Lienz und Otto Dix: Bilderwelten zwischen den Kriegen, ed. Helena Pereña and Astrid Flögel, exh. cat. Tiroler Landesmuseen, Innsbrück and Zeppelin Museum, Friedrichshafen (Munich: Hirmer, 2019). 137-49.

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.

Barbara McCloskey, “Teach Your Children Well: Hermynia Zur Mühlen, George Grosz, and the Art of Radical Pedagogy in Germany between the World Wars,” 77-95.  In Deborah Ascher Barnstone and Elizabeth Otto, eds., Art and Resistance in Germany (London: Bloomsbury, 2018).

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)

Isabel Rousset, ‘Satirical Representations of the Bauhaus Architect in Simplicissimus Magazine’ in Fashioning Professionals: Identity and Representation at Work in the Creative Industries, eds. Leah Armstrong and Felice McDowell (London: Bloomsbury, 2018), pp. 103–20

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)

James A. van Dyke, “Paul Mathias Paduas Leda mit dem Schwan, zeitgeschichtlich betrachtet,” in: vermacht. verfallen. verdrängt. Kunst und Nationalsozialismus, ed. Christian Fuhrmeister, Monika Hauser-Mair, Felix Steffan, exh. cat. Städtische Galerie Rosenheim (Petersberg: Michael Imhof Verlag, 2017), 55-64.

____. “Dix Petrified,” in: Art and War (German Visual Culture series), ed. Deborah Ascher Barnstone and Barbara McCloskey (Oxford: Peter Lang, 2017), 103-27.

____. “On the Challenge of Nazi Art,” German Quarterly 90, no. 3 (2017): 366-8.

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

James A. van Dyke, “Otto Dix’s Triptych The War,” Kunst und Politik. Jahrbuch der Guernica-Gesellschaft (special issue: “Hauptwerke politischer Kunst im 20. Jahrhundert/Icons of 20th-Century Political Art,” ed. Andrew Hemingway and Norbert Schneider), 18 (2016): 25-35.

____. “Franz Seraph von Lenbach, Portrait of Prince Otto von Bismarck (1884-90),” in: Spotlights: Collected by the Mildred Lane Kemper Art Museum, ed. Sabine Eckmann (St. Louis: Mildred Lane Kemper Art Museum; distributed by the University of Chicago Press, 2016), 91-94.

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




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).

Joe Bucciero, “New Objectives: Painting, Work, and Contemporaneity in 1920s Germany” (Princeton University; Prof. Hal Foster)

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)

Valeria Fulop-Pochon, “Hungarian Women Artists’ Opportunities and Restraints c. 1930-1960: Towards Autonomy and Representations of Identity” (University of Bristol)

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)

Peter Sproule, “Masculine Fashion Culture in Post-war West Germany: Reconstructing the ‘Ideal Man’ through Illustration” (Queen’s University; Dr. Allison Morehead & Dr. Elizabeth Otto)

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)



Charlotte Healy, “Paul Klee’s Hand” (Institute of Fine Arts, New York University; Robert Lubar Messeri)

MaryClaire Pappas, “Making Modern Viewers: Painting in Norway and Sweden, 1908-1918” (Indiana University, Bloomington; Dr. Michelle Facos)


Max Koss, “The Art of the Periodical: Pan, Print Culture and the Birth of Modern Design in Germany, 1890-1900”, (The University of Chicago, Chairs: Prof. Christine Mehring and Prof. Ralph Ubl)


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


   B   C   D   E   F   G   H   I   J   K   L   M   N   O   P   R   S   T   U   V   W   X   Y   Z

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

Bridget Alsdorf
Professor of Nineteenth-Century European Art, Princeton University
Scandinavian Art

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

Eric Anderson
Associate Professor, History and Theory of Art and Design, Rhode Island School of Design
Design history, interiors, furniture, product design, domesticity, Sigmund Freud and psychoanalysis, global modernism, The Ulm School

Jenny Anger 
Professor 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

back to top

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
Associate Professor of Art History, University of Minnesota Duluth
East German art, Cold War culture, Central & Eastern Europe, Politics and Aesthetics, Visuality

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

Max Boersma
Wissenschaftlicher Mitarbeiter, FU Berlin
European modernism and the avant-garde, abstract art, craft, design

Katherine Boivin
Associate Professor of Art History and Visual Culture, Bard College
Medieval Art and Architecture, Late Medieval Germany

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

Joe Bucciero
PhD candidate, Princeton University, Department of Art & Archaeology
Modern and contemporary art in Germany (and elsewhere), Neue Sachlichkeit paintin

Barbara C. Buenger
Prof. of Art History Emerita Univ. Wisconsin – Madison
Resighting Max Beckmann’s 1930s:
Novocento in Nazi-Era Europe

Nora Butkovich

back to top

Jean Marie Carey 
Researcher 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

Kathleen Chapman
Associate Professor, Virginia Commonwealth University
Late 19th and early 20th-century German Art and Visual Culture

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
Robert B. Menschel Curator of Photography at The New York Public Library
Austrian and German Photography

back to top

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

Stefania Duricova
PhD Candidate, School of Art History, University of St Andrews
Central European history painting in the late 19th and early 20th centuries. Mural paintings in Central Europe in the late Austro-Hungarian Empire.

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

back to top

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

Signe Endresen
Senior Curator, Munchmuseet
Edvard Munch, Prints and drawings, Gender, Material culture, New visual media

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

back to top

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

Marta Faust
Adjunct Lecturer, State University of New York at Oneonta
Art and visual culture in early-modern Germany and the Low Countries, printed images and print culture, replication processes and theories, medievalism

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

Valeria Fulop-Pochon
PhD Candidate, University of Bristol
Transnational modernisms, modernist women artists, twentieth-century art and design in Europe and beyond its borders

Susan Funkenstein
Lecturer, Penny W. Stamps School of Art & Design, University of Michigan
Weimar visual culture; dance history; gender studies

back to top


Miguel Gaete
Associate researcher, University of York
German Romanticism in Latin America

Isabelle Gapp
University of Aberdeen
Art history, Ecocriticism, Circumpolar North, Landscape Painting

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

Haylee Glasel

Aglaya Glebova
Associate Professor, History of Art, UC Berkeley

Tamara Golan
Assistant Professor, University of Chicago
15th and 16th-century Germany and Switzerland; German Democratic Republic

Lauren Graber
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 
Associate 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

back to top

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

Richard Viktor Hagemann
Associate Researcher, Josef Albers Catalogue Raisonné
Josef Albers, German and American Art 19th & 20th Century, Art theory

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

Jenny Harris
PhD Student, University of Chicago
Global modernism, abstraction, design, histories of dance and performance

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 Graduate Center / Florence B. Selden Fellow, Yale University Art Gallery
Expressionism, 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
Exhibitions and Publications Program Director, Beinecke Library, Yale University
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 Emerita, Wright State University
Czech modernism and visual culture, gender, periodical studies 

Stephanie Lebas Huber
Postdoctoral Fellow, Leonard A. Lauder Center for Modern Art
Interwar painting, figuration, Magic Realism, Film, Dutch Painting

Naomi Hume
Associate Professor, Seattle University
Central and Eastern European Art History, Gender and Representation, History of Photography

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

back to top

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

back to top

Katherine Jackson
Assistant Professor Art History, Utah Valley University
conceptual, postwar, sculpture

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

Paul Jaskot
Professor of Art, Art History & Visual Studies, Duke University

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

Julie Johnson
Associate Professor, University of Texas at San Antonio
Women Artists, Habsburg/Austrian Studies, Museum Studies, Historiography, Erasure/Memory

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 
Curator, Moody Center for the Arts, Rice University
19th & 20th century German art; Société Anonyme Collection; Cultural transfer between Europe and the USA; Exile studies in the visual arts; Global Contemporary art

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
Professor, Yale University
Medieval art, architecture, and visual culture in northern Europe


back to top

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

Lenka Kerdova
Central European art and architecture, Prague German architecture, Prague German speaking avant-garde scene and network

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

Katerina Korola
Postdoctoral Fellow, Harvard University
History of Photography, German Modernism, Environmental Humanities

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
Research Associate, Provenance Lab, Leuphana University Lüneburg
Periodical Studies, German Art since 1800, Applied Arts and Design, Provenance Studies 

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

Caspar Krisch
Humboldt University of Berlin
Postwar German Art; Contemporary Art & Theory; Critical Theory

Charlotta Krispinsson
Senior Lecturer, Södertörn University
Early modern Scandinavian art and visual culture, German and Scandinavian art historiography.

Katherine Kuenzli
Professor, Wesleyan University
European Modernism

back to top

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

Chao Li
Doctor of Philosophy, Academy of Fine Arts Vienna. 
Art and the Public, Aesthetics and Politics, Interdisciplinary Art, New Media, 

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
Professor Emerita, 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 

back to top

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

Alexander McCarger
Baroque Theater, Baroque Art & Architecture, Scenography, Material culture, Performance, Opera, Ottoman Empire, Habsburg/Ottoman relations, Stage Design Costume Design.

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

Laura Morowitz
Professor of Art History, Wagner College
Vienna 1900/Nazi Vienna/Holocaust Art/Symbolism

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
Librarian, Dorot Jewish Division, New York Public Library 
historiography of art, especially in Central Europe; book and library history

back to top

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

David W. Norman
Forsyth Postdoctoral Research Fellow, University of Michigan
Modern and contemporary art in Scandinavia and the circumpolar north, particularly Greenland, Indigenous politics, Media aesthetics, Historiography

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

back to top

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

Jonathan Odden
Graduate Student, The Graduate Center, CUNY
Art History and Design in German-speaking Europe

Michelle Oing
Lecturer, Stanford University 
Medieval and Early Modern art, religion, performance, and puppetry

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

back to top

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

MaryClaire Pappas
Museum of Modern Art, New York
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

Fedora Parkmann
Dr.; Institute of Art history of the Czech Academy of Sciences
History of Photography, Art of the twentieth century, Czech studies

Matt Parry
Doctoral Candidate, University of Cambridge
East German experimental cinema, Intermedial and expanded cinema, Aesthetics and philosophy of motion

Gustav Jørgen Pedersen
Head of Research, MUNCH
Edvard Munch, modernism, philosophy, aesthetics, contemporary art, death

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

back to top

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 
Independent Scholar
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
Curator and Independent Scholar
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

back to top

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

Jeffrey Saletnik
Associate Professor, 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

Margaret Schwartz
German and Austrian modernist art, Northern Renaissance and Baroque art

Wylie Schwartz
Assistant Professor of Art History, SUNY Cortland
Postwar Northern European art; Nordic Neo-avant-garde; Artist collectives and experimental pedagogy (1955-1970)

Julia Secklehner
Masaryk University, Czech Republic
Central European modernism in art and 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

Samantha Small
PhD Candidate, The Graduate Center
European Modernism, focus on German Symbolism

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.

Tonje Haugland Sørensen
Postdoctoral Fellow in art history, University of Bergen, The Department of Linguistic, Literary and Aesthetic Studies

Freyda Spira
Robert L. Solley Curator of Prints and Drawings
Yale University Art Gallery
Early Modern, Germany, Denmark, 19th century, works on paper, Munch and Kirchner

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

Przemyslaw Strozek
Associate Professor, Institute of Art of the Polish Academy of Sciences

Adrian Sudhalter
Early 20c modern art, Dada, Bauhaus, modernism’s infrastructure
Research Curator, Merrill C. Berman Collection

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

back to top

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
Assistant Professor, Art History, Hamilton College
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

Cindy Torgesen
Assistant Professor of Art History at Southern Utah University
Postwar Germany and the Balkans

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

back to top

Zsofia Valyi-Nagy
PhD Candidate, University of Chicago
Early digital art, computer graphics, and abstraction in postwar Europe; Gender and feminist art history; critical oral history

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, CUNY Kingsborough and Montclair State University
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

Jane Vuorinen
Doctoral student, University of Turku

back to top

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

Lynnette Widder 
Professor of Practice, Sustainability Management, Columbia University
Post-War West German architecture

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

Christopher Williams-Wynn

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

back to top

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

Jo Ziebritzki
Graduate Assistant, Heidelberg University 

Xiaojue (Michelle) Zhu
PhD Student, The Courtauld Institute of Art
German Modernism, Intersectionality, Weimar Republic, Art and Law, Art and Criminal Justice, Art and Resistance


back to top

member updates


Andrés Zervigón completed a visiting fellowship this last spring: Daphne Mayo Visiting Fellow, University of Queensland, Brisbane, Australia, March 2023.

Benjamin Benus co-curated a related exhibition which opened in June at the Aspen Institute’s Resnick Center for Herbert Bayer Studies. The exhibition, titled “Concept of a Visualist: Herbert Bayer’s World Geo-Graphic Atlas,” will be on view through April 2024.

Elizabeth Otto is co-curating “Bauhaus und Nationalsozialismus” together with Anke Blümm and Patrick Rössler, which will open in May 2024 in the Bauhaus Museum and two other venues as the main summer exhibition of the Klassik Stiftung Weimar. It will run through mid-September.

Eva Forgacs has been awarded a grant at the IFK (Internationales Forschungszentrum Kulturwissenschaften / Kunstuniversität Linz in Wien) in Vienna, October 2023-Jan. 2024, to work on the edited volume Between Point Zero and the Iron Curtain: International Cooperation in Ar and the Postwar Moment, 1945-1948.

On February 15, 2023 at the invitation of the National Arts Club, New York, Diane Radycki  presented a talk “From Nowhere in 1907 to Here in 2017 at the Museum of Modern Art,” on the posthumous growth of the reputation of the painter Paula Modersohn-Becker (1876-1907).  The enthusiastic, standing-room only audience subsequently led to an invitation from the Photorealist painter Audry Flack to give the talk at her studio to her studio assistants; as well as to an invitation to contribute an essay on this subject to an online SubStack publication, The Culture We Deserve.

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 2022-23.

Karla Huebner’s book Magnetic Woman: Toyen and the Surrealist Erotic (University of Pittsburgh Press, 2020) won the 2021 Czechoslovak Studies Association book prize. She also did a podcast episode on it with John Raimo for New Books Network in 2021.

Sophie Taeuber-Arp: Living Abstraction, Edited by Anne Umland and Walburga Krupp with Charlotte Healy, The Museum of Modern Art/Kunstmuseum Basel

2022 Dedalus Foundation Exhibition Catalogue Award Winner

The catalogue accompanying the first retrospective of Taeuber-Arp’s work in the United States in 40 years, has been awarded the 2022 Dedalus Foundation Exhibition Catalogue Award, which recognizes an outstanding exhibition catalogue that makes a significant contribution to the scholarship of modern art or modernism.

Elizabeth Cronin has been named the Robert B. Menschel Curator of Photography at The New York Public Library.

Strategy: Get Arts website and US release of book: 

An exciting new Edinburgh College of Art website on the pioneering exhibition Strategy: Get Arts (1970), which introduced the English-speaking world to the likes of Joseph Beuys, Gerhard Richter, Klaus Rinke, Günther Uecker, Bernd and Hilla Becher, and many other artists associated with the Kunstakademie Düsseldorf, is openly accessible. The website contains films and short summaries on the artists’ contributions to SGA. Please click here:


Much longer summaries on the work of the 35 artists involved, as well as many essays on different aspects of SGA, an exhibition critical in the Anglophone reception of post-45 German art, can be found in the well-illustrated book released last year.

Authored by Christian Weikop (Senior Lecturer at ECA, University of Edinburgh), Strategy: Get Arts35 Artists Who Broke the Rules is now available in the United States, as well as in Europe. It is available from the EUP websiteamazon.com, and various bookstores.

Julie M. Johnson was awarded the John H. Rath Prize for best article, “The Other Legacy of Vienna 1900: The Ars Combinatoria of Friedl Dicker-Brandeis,” Austrian History Yearbook 51 (2020): 243-268.Austrian History Yearbook, 2020 John H. Rath Prize as well as an NEH Faculty Award for Hispanic-Serving Institutions, 2020-2021 for a book project titled “Hiding in Plain Sight: Maria van Oosterwyck’s 1668 Vanitas Still Life in the Habsburg Collections, 1668-2020”

In 2018-19 the Belvedere held an exhibition based on the thesis of her 2012 book, The Memory Factory: The Forgotten Women Artists of Vienna 1900https://www.smithsonianmag.com/smart-news/belvedere-recognizes-unheralded-female-artists-early-20th-century-vienna-180971361/

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.