Vita

since 2021: Postdoc in the Graduiertenkolleg “Normativity – Critique – Change” with the research project “Persephone’s Return: Creation, Procreation, and Contemporary Art” (Prof. Dr. Karin Gludovatz)

2019–2021: Lecturer (Universitätsassistentin), Institut für Kunstgeschichte, Karl-Franzens-Universität Graz

2019: Ajunct Instructor (Lehrbeauftragte), HU Berlin and FU Berlin

2018–2019: Visiting Seminar Leader, Whitney Independent Study Program

2015–2017: Joanne Cassullo Teaching Fellow, Whitney Independent Study Program

2018: PhD in History of Art and Architecture, Harvard University

2012: MA in History of Art and Architecture, Harvard University

2008–2009: Helena Rubinstein Fellow inCritical Studies, Whitney Independent Study Program (Advisor: Hal Foster, Princeton)

2007: Bachelor in the History of Art and in Interdisciplinary Studies, University of California, Berkeley

 

Grants and Prizes

2021: Emerging Scholars Publication Prize (Honorable Mention), Historians of German, Scandinavian, and Central European Art, Collage Art Association (for “Lucia Moholy’s Idle Hands,” 2020)

2019–2020: Terra Foundation for American Art, Research Travel Grant

2019: Henry Moore Foundation, Research and Travel Grant

2017–2018: Dissertation Completion Grant, Harvard University

2016–17: DAAD, Doctoral Research Scholarship, BTU Cottbus-Senftenberg

2015–16: Fulbright, Doctoral Research Scholarship, Universität Kassel

2014: Global Humanities Junior Fellowship, Dahlem Humanities Center, FU Berlin

2010–2014: Jacob K. Javits Fellowship for Graduate Studies in the Humanities

Research Areas

European and American Art of the Twentieth Century

Gender and Art Historiography

Chicanx and Latinx Contemporary Art

Legacies of the Anti-aesthetic and Craft

Sculpture and Reproductive Media

Convened Conferences and Panels

in planning * Surrogates: Embodied Histories of Sculpture in the Short Twentieth Century (working title), co-organized with Prof. Joanna Fiduccia, Yale University

2021 * Travel and Collaboration: Entangled Artistic Practices Across the Americas, co-organized with Dr. Anne-Grit Su Becker. Institut für Kunstgeschichte with the Center for Inter-American Studies, Universität Graz

2020 * “A Foreign Eye: Photography, Women, and Global Encounters in the Twentieth Century.” Sponsored panel co-organized with Prof. Hyewon Yoon, College Art Association

2019 * Engendering Bauhaus Histories: Women and Femininity in the 1920s and Beyond / Frauen und Femininität seit den 20er Jahren (Jun 28), co-organized with Dr. Johanna Függer-Vagts and Dr. Linn Burchert. Institut für Kunst- und Bildgeschichte, HU Berlin

2015 * The 2015 Wasserman Forum on Contemporary Art: Public Art and the Commons. (Nov 13). MIT List Visual Arts Center, Cambridge, MA

Monographs

Sculpture’s Progeny: The Maternal Work of Art at Midcentury (in preparation)

Scenes from the Archive: Photography, Objecthood, and the Bauhaus. Doctoral dissertation, Harvard University (2018), published online: https://dash.harvard.edu/handle/1/41129122

 

Edited Volumes

A Foreign Eye: Photography, Women and Global Encounters (with Hyewon Yoon, in preparation)

OCTOBER 172 (Spring 2020), edited cluster of essays, “Weimar Photography: Bauhaus/Cultural Difference/Exile, Part I”

 

Peer-Reviewed Articles and Chapters

 “The Maternal Conditions of Artistic Creation.” kritische berichte, vol. 2 (2022): Soziale Fragen Heute, ed. Lea Kuhn and Kathrin Rottmann, forthcoming.

 “Drawing Lessons: Ruth Asawa’s Early Work on Paper.” In Object Lessons: The Bauhaus and Harvard, ed. Laura Muir. New Haven: Yale University / Harvard Art Museums, 2021. 149–165.

 “Lucia Moholy’s Idle Hands.” OCTOBER 172 (Spring 2020): 68–108.

 “A (Still) Marginal Modernity, or The Artist as Stenographer.” OCTOBER 172 (Spring 2020): 3–7.

 “Anni Albers’s ‘Pliable Plane’: Writing on Architecture and the Nomadic Textile.” In Textile Moderne / Textile Modernism, ed. Burcu Dogramaci. Böhlau Verlag, 2019. 217–28.

 “Breuer’s New Women.” In Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism’s Legendary Art School, ed. Elizabeth Otto and Patrick Rössler. London: Bloomsbury 2019. 313–34.

 “The Factographic Gesture.” In Liz Laser: Public Relations / Öffentlichkeitsarbeit, ed. Kristin Scepanski. Berlin: Sternberg Press, 2014. 118–25.

 “Illuminated Loss: Warhol’s Flash—November 22, 1963.” In Reading Andy Warhol, ed. Nina Schleif. Munich: Hatje Cantz, 2013. 202–17.

 “Against Abstraction: Zoe Leonard’s Analogue.” Art Journal 69, no. 4 (Winter 2010): 108–23.

 “Zoe Leonard’s Object-Based Photography.” Prefix Photo 20: Archival Legacies 10, no. 2 (November 2009): 34–55.

           

Essays, Interviews, and Catalogue Entries

 “#Wickedary,” FKW: Zeitschrift für Geschlechterforschung und visuelle Kultur, special issue: how :// do we speak #feminism?// new global challenges Nr. 70 (February 2022), S. 160-162. 

 “Why the Bauhaus Still Matters in an Era of Neo-nationalism.” Hyperallergic, 9 September 2020.

https://hyperallergic.com/585843/why-the-bauhaus-still-matters-in-an-era-of-neo-nationalism/

“Reputations: Anni Albers.” The Architectural Review (June 2020): 42–45.

“From Weimar to Black Mountain: The Afterlife of the Bauhaus Textile.” Goethe-Institut, Washington D.C.; March 2019 (https://www.goethe.de/ins/us/en/kul/art/bhs/21503345.html)

Extended entries in Corita Kent and the Language of Pop, ed. Susan Dackerman. New Haven: Yale University / Harvard Art Museums, 2016.

Extended entries in This Will Have Been: Art, Love, and Politics in the 1980s, ed. Helen Molesworth. New Haven: Yale University / Museum of Contemporary Art Chicago, 2012.

“Interview with Rirkrit Tiravanija, New York.” Art India 13, no. 3/4 (September 2008): 29–31.

 

Reviews

“Jennifer Bajorek, Unfixed: Photography and Decolonial Imagination in West Africa,” book review (Rezension), History of Photography, Heft 44, Nr. 2–3 (2021), S. 224–26.

“Susan Funkenstein, Marking Modern Movement: Dance and Gender in the Visual Imagery of the Weimar Republic.” Women’s Art Journal (Fall / Winter 2021): 58–60.

“Jennifer Bajorek, Unfixed: Photography and Decolonial Imagination in West Africa.” History of Photography 44, no. 2–3 (2021): 224–26.

“Jeanne Mammen: The Observer. Retrospective: 1910–1975.” Women’s Art Journal 40, no. 1 (Spring/Summer 2019): 49–51.

“Charles Darwent, Josef Albers: Life and Work,” The Burlington Magazine 161 (April 2019): 358.

Exhibition reviews for ARTNews, 2014–2015.

Exhibition reviews for Artforum.com, 2009–2012.