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:
https://edin.ac/strategy-get-arts
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 Arts. 35 Artists Who Broke the Rules is now available in the United States, as well as in Europe. It is available from the EUP website, amazon.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 1900. https://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 Copenhagen, which 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 ([email protected]).
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.
“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.
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.
https://www.thegsa.org/prizes/article_prize.html
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.