HGSCEA DISSERTATIONS
IN PROGRESS
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)
COMPLETED
2025
Erin Dusza “Art, Historicism, and Nostalgia in the Creation of Czechoslovak National Identity” (Indiana University, Bloomington)
2022
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)
2019
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)
2018
Peter Fox, “Bernhard Pankok and Design Reform in Germany, 1895-1914” (Princeton University; Esther da Costa Meyer)
2017
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)
2016
Morgan Ridler, “The Bauhaus Wall Painting Workshop: Mural Painting to Wallpapering, Art to Product” (The Graduate Center, CUNY; Rose-Carol Washton Long).
2014
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)
2013
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)
2012
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)
2011
Ksenya Gurshtein, “TransStates: Conceptual Art in Eastern Europe and the Limits of Utopia,” (University of Michigan, Professor Alex Potts)
2010
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)
2009
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)
2008
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)
2007
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).
2006
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)
2005
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).
2004
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)
2003
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)
2002
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).
2000
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)