Prof. Dr. Isabel Wünsche

• 19th and 20th-century art and art theory
• artist networks
• abstraction
• modernism
• and the avant-garde movements

Ruprecht Karls University, Heidelberg, Germany, 1993-1997
Ph.D. in Art History, Classical and Christian Archaeology, May 1997
Dissertation: "Das Kunstkonzept der Organischen Kultur in der Kunst der russischen Avantgarde" (The Concept of Organic Culture in the Art of the Russian Avant-garde)

University of Southern California, Los Angeles, CA, 1993-1996
Visiting Scholar at the Department of Slavic Languages and Literatures and the Institute of Modern Russian Culture

Moscow State University, Moscow, Russia, 1990-1991
MA Exchange Student at the Department of History of Russian and Soviet Art

Humboldt University, Berlin, Germany, 1986-1992
MA in Art History, August 1992
Thesis: "Erweitertes Sehen und Organische Kultur: M. V. Matiusins Handbuch der Farbe" (Extended Viewing and Organic Culture: M. V. Matiushin's Guide to Color)

• Publication Grant of the Society of Historians of Eastern European, Eurasian, and Russian Art and Architecture (SHERA), 2022
• Research Fellowship, Robert Gore Rifkind Center for German Expressionist Studies, Los Angeles County Museum of Art, Summer 2022
• Appointment as Scout for the Henriette Herz Scouting Program of the Alexander von Humboldt Foundation, 2021 
• Research Grant, German Academic Exchange Service (DAAD), Exchange Program with Finland, 2019-2021
• Teaching Award, Jacobs University, 2020
• International Discovery Award (IDA) of the Australian Research Council (ARC), 2016-2019
• Research Fellowship, New Europe College, Institute for Advanced Study, Bucharest, Romania, Spring 2016
• Research Grants, German Academic Exchange Board (DAAD), Exchange Programs with Croatia and Portugal, 2014-2015
• Research Grant, German Academic Exchange Board (DAAD), Exchange Program with Australia, 2012-2013
• Research Fellowship, German Science Foundation (DFG), 2011-2012
• Achievement Certificate for 10-Year Service to Jacobs University, December 2011
• Research Fellowship, Institute for Advanced Study, Collegium Budapest, 2008-2009
• Research Fellowship, National Humanities Center, North Carolina, USA, 2007-2008
• Research Fellowship, Nancy and Norton Dodge Collection of Nonconformist Art from the Soviet Union, Rutgers, The State University of New Jersey, 2003-2004 and 2007
• Mayers Fellowship, The Huntington Library, Art Collections, and Botanical Gardens, San Marino, California, 2003-2004
• Three-Year Research Grant from the Gottlieb Daimler and Karl Benz Foundation, 1993-1996
• Grant from the Walter Kaminsky Foundation, 1990-1991
• State Grant for Exchange Students at Moscow State University, 1990-1991

The Huntington Library, Art Collections, and Botanical Gardens, San Marino: Research Associate for American Art, August 2000 - August 2001

California Institute of Technology, Pasadena, Division of Humanities and Social Sciences: Lecturer in Art History, 1998-2001

UCLA Extension, Online Teaching: Lecturer in Art History, Winter 2001

Scripps College, Claremont, Department of Art and Art History: Lecturer in Art History, Spring 2000

Norton Simon Museum, Pasadena: Curatorial Associate for the Blue Four Cataloguing Project, February 1997 - December 1999

Los Angeles County Museum of Art: Fellow at the Robert Gore Rifkind Center for German Expressionist Studies, September 1995 - September 1996

“From the Avant-Garde to Nonconformism: Soviet Artists and their Alternative Practices between Thaw and Stagnation,” joint research training group of the Russian Art & Culture Group at Constructor University and the Research Centre for Eastern European Studies at Bremen University, German Science (DFG), 2023-2026

Research Project “German-Finnish Artistic Relations and Cultural Exchange in the 20th Century,” together with Tutta Palin, University of Turku, Exchange Program with Finland, German Academic Exchange Service (DAAD), 2019-2021

Research Project “Bauhaus Australia: Émigrés, Refugees and the Modernist Transformation of Education in Art, Architecture, and Design, 1930 to 1970,” together with Philip Goad (University of Melbourne), Harriet Enquist (Royal Melbourne Institute of Technology), Andrew McNamara (QUT), and Ann Stephen (University of Sydney), Discovery Grant of the Australian Research Council, 2016-2019

Research Project “German-Portuguese Artist Relations in the 20th Century,” together with Lucia Matos, University of Porto, Exchange Program with Portugal, German Academic Exchange Service (DAAD), 2014-2015

Research Project “German-Croatian Artist Networks in the 20th Century,” together with Ljiljana Kolesnik, Institute of Art History, Zagreb, Exchange Program with Croatia, German Academic Exchange Service (DAAD), 2014-2015

Research Project “The Reception of German Modernism and the Bauhaus in Australian Art, Architecture, and Art Education between 1920 and 1960,” together with Andrew McNamara, Queensland University of Technology, Exchange Program with Australia, German Academic Exchange Service (DAAD) and Australian Technology Network (ATN), 2012-2013

Research Project “The Politics of Abstraction: Modernist Art and Visual Culture in the Globalized World,” Deutsche Forschungsgemeinschaft (DFG), 2011-2012

Books:

Isabel Wünsche and Miriam Leimer (eds), 100 Years On: Revisiting the First Russian Art Exhibition of 1922, Cologne, Vienna: Böhlau, 2022.

Philip Goad, Ann Stephen, Andrew McNamara, Harriet Equist, and Isabel Wünsche (eds.), Bauhaus Dispora and Beyond: Transforming Education through Art, Design and Architecture, Melbourne: Melbourne University Publishing; Sydney: Power Publications, 2019.

Isabel Wünsche (ed.), The Routledge Companion to Expressionism in a Transnational Context, New York, London: Routledge, 2018.

Tanja Malycheva and Isabel Wünsche (eds.), Marianne Werefkin and the Women Artists in Her Circle, Amsterdam: Brill/Rodopi, 2016.

Isabel Wünsche and Wiebke Gronemeyer (eds.), Practices of Abstract Art: Between Anarchism and Appropriation, Newcastle, UK: Cambridge Scholars Publishing, 2016.

Isabel Wünsche, The Organic School of the Russian Avant-Garde: Nature’s Creative Principles, Farnham, UK: Ashgate, 2015, Paperback Edition, Routledge 2018.

Paul Crowther and Isabel Wünsche (eds.), Meanings of Abstract Art: Between Nature and Theory, London: Routledge, 2012, Paperback Edition 2016. 

Isabel Wünsche, Kunst & Leben. Michail Matjuschin und die russische Avantgarde in St. Petersburg [Art & Life: Mikhail Matiushin and the Russian Avant-Garde in St. Petersburg], Köln: Böhlau, 2012.

Oliver A. I. Botar and Isabel Wünsche (eds.), Biocentrism and Modernism, Farnham, UK: Ashgate, 2011, Paperback Edition, Routledge 2016. 

Isabel Wünsche, Harmonie und Synthese. Die russische Moderne zwischen universellem Anspruch und nationaler kultureller Identität [Harmony and Synthesis: Russian Modernism between Universal Aspiration and National Cultural Identity], München: Wilhelm Fink.

Ada Raev and Isabel Wünsche (eds.), Kursschwankungen: Russische Kunst im Wertesystem der europäischen Moderne [Fluctuations: Russian Art within the Value System of European Modernism], Berlin: Lukas, 2007.

Isabel Wünsche, Galka E. Scheyer & The Blue Four: Correspondence 1924-1945, Berne: Benteli, 2006.

Isabel Wünsche, Galka E. Scheyer & Die Blaue Vier: Briefwechsel 1924-1945, Berne: Benteli, 2006.

Special Journal Issues:

Ludmila Piters-Hofmann and Isabel Wünsche (eds.), issue on “Artistic Communities and Educational Approaches in Nineteenth- and Early Twentieth-Century Russia”, Russian History Russian History 46 (2019).

Isabel Wünsche, Sebastian Borkhardt, and Tanja Malycheva (eds.), “In Memoriam: Dmitry Vladimirovich Sarabyanov”, Experiment: A Journal of Russian Culture/Eksperiment: Zhurnal russkoi kultury, vol. 23 (2017).

Articles and Book Chapters (Selection, last 10 years):

Isabel Wünsche, “From Universal Visual World Language to Global Cross-Cultural Dialogue,” in Representing and Understanding Abstraction Today, Milan: Magütt Publishing, 2024, pp. 12-24.

Isabel Wünsche, “Without Borders: The Dynamics of the Blue Rider Artists’ Networks,” in Expressionists: Wassily Kandinsky, Gabriete Münter, Marianne Werefkin, ed. Natalia Sidlina, London: Tate Publishing, 2024, pp. 168-175.

Isabel Wünsche, “Galka Scheyer: Unorthodoxe Lebens- und Wirkungsformen zwischen Tradition und Moderne,” in Galka Scheyer und die Blaue Vier – Lyonel Feininger, Alexej von Jawlensky, Wassily Kandinsky, Paul Klee, exh. cat., Braunschweig: Städtisches Museum, 2024, pp. 67-81.

Isabel Wünsche, “New World Remakes, Cold-War Politics, and the Legacy of the Bauhaus,” Peripeti, Vol. 20, Nr. 38 (2023): The 1930s Today – Political and Aesthetic Legacies, pp. 134-145.

Isabel Wünsche, “Beyond Kandinsky: The Promotion and Reception of Russian Art in Germany, 1890s to 1922, in 100 Years On: Revisiting the First Russian Art Exhibition of 1922, ed. Isabel Wünsche and Miriam Leimer, Cologne, Vienna: Böhlau, 2022, pp. 33-41.

Isabel Wünsche, Katherine S. Dreier and the Promotion of Russian Art in the United States,” in 100 Years On: Revisiting the First Russian Art Exhibition of 1922, ed. Isabel Wünsche and Miriam Leimer, Cologne, Vienna: Böhlau, 2022, pp. 145-153.

Isabel Wünsche, “Experimentation and Invention in Weaving at the Bauhaus,” in: Material Modernity: Innovations in Art, Design, and Architecture in the Weimar Republic, ed. Deborah Ascher Barnstone and Maria Makela, London: Bloomsbury, 2022, pp. 37-58.

Isabel Wünsche, “Mikhail Matiushin and the Concept of Organic Culture,” in Organic Art: The Avant-garde in Petrograd, exh. cat., Thessaloniki: MoMus, 2022, pp. 43-51.

Isabel Wünsche, “Katherine S. Dreier’s Promotion of German Modernism and the Russian Avant-Garde,” Yale University Art Gallery 2020-21 Bulletin, pp. 46-55.

Isabel Wünsche, “Liquid Crystals, Theories of Life, and Visual Perception in the Russian Avant-garde,” Leonardo, 54 (December 2021) 6: 680-684. Abstract:       DOI: 10.1162/leon_a_02013.

Isabel Wünsche, “Pavel Chistiakov and Jan Ciągliński: New Approaches to Art Pedagogy in Nineteenth- and Early Twentieth-Century Russia,” Russian History 46 (2019): 305-319.

Isabel Wünsche, Wiebke Gronemeyer, “Reform Education and Bauhaus Pedagogy,” in BAUHAUS DIASPORA: Transforming Education in Art, Architecture and Design, ed. Philip Goad, Ann Stephen, Andrew McNamara, Harriet Enquist, Isabel Wünsche, Melbourne: Melbourne University Press, 2019, pp. 22-35.

Veronica Bremer, Isabel Wünsche, “Bauhaus via London: Dahl Collings, Geoffrey Collings, Alustar Morrison and Richard Haughton James,” in BAUHAUS DIASPORA: Transforming Education in Art, Architecture and Design, ed. Philip Goad, Ann Stephen, Andrew McNamara, Harriet Enquist, Isabel Wünsche, Melbourne: Melbourne University Press, 2019, pp. 76-87.

Isabel Wünsche, “The Evolution of Abstract Painting: Ludwig Hirschfeld-Mack’s Coloured Light Plays,” The Structurist, 51/52 (2018-2019): 87-98.

Harriet Edquist, Isabel Wünsche, “Textile Modernism in Australia: Assessing the Impact of Emigré Designer Gerard Herbst at the Prestige Textile Design Studio in Melbourne in the 1940s and 1950s,” in Textile Moderne/Textile Modernism, ed. Burcu Dogramaci, Köln/Wien: Böhlau 2019, pp. 383-396.

Isabel Wünsche, “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, pp. 225-247.

Isabel Wünsche, “Revolutionary Alliances: The Russian Avant-garde and the Berlin Art Scene of the 1920s,” in Europa Orientalis. Studies and Research on Eastern European Countries and Cultures, 2019, pp. 139-151.

Isabel Wünsche, “Terra incognita? Die erste australische Bauhaus-Ausstellung 1961 in Melbourne,” in Bauhaus ausstellen, ed. Franziska Bomski, Hellmut Th. Seemann, Thorsten Valk, Göttingen: Wallensteinverlag 2019, pp. 219-238.

Isabel Wünsche, “The November Group Writes Absolute Film History,” in Freedom: The Art of the Novembergruppe 1918-1935, exh. cat., Berlin: Berlinische Galerie, 2018, pp. 168-175.

Isabel Wünsche, “‘Der Absolute Film’-Matinee der Novembergruppe und Ludwig Hirschfeld-Macks Reflektorische Farbenspiele,” in Novembergruppe 1918: Studien zu einer interdisziplinären Kunst für die Weimarer Republik, ed. Nils Grosch, Münster: Waxmann, 2018, pp. 169-180.

Isabel Wünsche, “Lebendigkeit und Unsterblichkeit in der Kunst der Organischen Schule der russischen Avantgarde” [Lifeliness and Immortality in the Art of the Organic School oft he Russian Avant-garde], INTERJEKTE 12 (2018): 25-32.

Isabel Wünsche, “Expressionist Networks, Cultural Debates, and Artistic Practices: A Conceptual Introduction,” in The Routledge Companion to Expressionism in a Transnational Context, ed. Isabel Wünsche, New York, London: Routledge, 2018, pp. 1-30.

Isabel Wünsche, “Expressionist Networks in the Russian Empire, Soviet Russia, and the Soviet Union,” in The Routledge Companion to Expressionism in a Transnational Context, ed. Isabel Wünsche, New York, London: Routledge, 2018, pp. 113-133.

Andrew McNamara, Ann Stephen, 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, pp. 271-289.

Isabel Wünsche, “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, Siegfried Ulbrecht, Berlin: Kulturverlag Kadmos, 2018, pp. 194-215.

Isabel Wünsche, “Creative Intuition: The Russian Interpretation of Henri Bergson’s Metaphysics,” in Experiment: A Journal of Russian Culture/Eksperiment: Zhurnal russkoi kultury, special issue “In Memoriam: Dmitry Vladimirovich Sarabyanov,” ed. Isabel Wünsche, Sebastian Borkhardt, Tanja Malycheva, vol. 23 (2017): 215-228.

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, Aleksandra Jach, exh. cat., Lodz: Museum Sztuki, 2017, pp. 185-206.

Isabel Wünsche, “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, pp. 291-307.

Isabel Wünsche, “Exile, the Avant-garde, and Dada: Women Artists Active in Switzerland during the First World War,” in Marianne Werefkin and the Women Artists in her Circle, ed. Tanja Malycheva, Isabel Wünsche, Amsterdam: Rodopi 2016, pp. 48-67.

Isabel Wünsche, “Wassily Kandinsky and František Kupka: Between Metaphysics and Psychophysics,” in Practices of Abstract Art: Between Anarchism and Appropriation, ed. Isabel Wünsche, Wiebke Gronemeyer, Newcastle, UK: Cambridge Scholars Publishing, 2016, pp. 11-29.

Isabel Wünsche, “California Modernism, European Émigré Artists, and the Summer Sessions at Mills College in Oakland, California,” in Global Mobilities: Refugees, Exiles and Immigrants in Museums and Archives, ed. Amy Levin, London, New York: Routledge 2016, pp. 423-438.

Isabel Wünsche, “From Vorkurs to vertikale Brigaden: Visual Arts Education at the Bauhaus,” in Bauhaus – Networking Ideas and Practice (BAUNET), exh. cat., Zagreb: Museum of Contemporary Art, 2015, pp. 60-79.

Isabel Wünsche, “Western Modernism at and beyond the Margins: František Kupka and Margaret Preston,” in The Humanities between Global Integration and Cultural Diversity, ed. Hans Kippenberg and Birgit Mersmann, Berlin: De Gruyter, 2015, pp. 141-153.

Isabel Wünsche, “Der Sturm und Die Abstrakten – Internationale Vereinigung der Expressionisten, Futuristen, Kubisten und Konstruktivisten e.V,” in Der Sturm: Literatur, Musik, Graphik und die Vernetzung in der Zeit des Expressionismus, ed. Henriette Herwig and Andrea von Hülsen-Esch, Berlin: De Gruyter, 2015, pp. 356-375.

Isabel Wünsche, “Elena Guro: On the Crossroads between Symbolism, Organicism and Cubo-Futurism,” in International Yearbook of Futurism Studies, special issue Women Artists and Futurism, ed. Günter Berghaus, Berlin: De Gruyter, 2015, pp. 266-291.

Advisory Boards:

International Editorial Advisory Board of the Academic Review “Menotyra”, Lithuanian Academy of Sciences, Vilnius, Lithuania, 2016-2021

International Board of the Institute of Art History, Academy of Sciences, Zagreb, Croatia, 2013-2018

International Editorial Advisory Board of the Routledge Encyclopedia of Modernism, 2011-2013

Reviewer, Fellowship Program, National Humanities Center, North Carolina, USA, since 2011

International Board of the journal Germanoslavia, Academy of Sciences, Prague, Czech Republic, since 2008

Organization of Conferences and Workshops (Selection):

International Symposium Expressionism Revisited, Brücke-Museum Berlin, June 2023 (with Lisa Marei Schmidt, Meike Hoffmann, Andrea Meyer, Aya Soika)

International Conference, 100 Years of German-Russian Cultural Exchange: The First Russian Art Exhibition, Staatsbibliothek Berlin, October 2021 (with Miriam Leimer)

Workshop, Abstraction and Figuration, and other Modernist Themes, Department of Art History, University of Turku, May 2018 (with Tutta Palin)

International Workshop, Peripheral Expressionisms: Artistic Networks and Cultural Exchange between Germany and its Eastern Neighbors in the Context of the European Avant-garde, Jacobs University, Bremen, December 2015

International Symposium, Collaborative Artist Networks in the Twentieth Century and Beyond, Jacobs University, Bremen, July 2015

International Workshop, Digital Abstraction at the Interface between Electronic Media Arts and Data Visualization, Jacobs University, Bremen, May 2015 (with Birgit Mersmann)

International Conference, Grenzüberschreitungen: Marianne Werefkin und die kosmopolitischen Künstlerinnen in ihrem Umfeld / Crossing Borders: Marianne Werefkin and the Cosmopolitan Women Artists in her Circle, Paula Modersohn-Becker Museum, Bremen, September 2014 (with Tanja Malycheva)

International Workshop, Avant-Garde Networks and Cultural Exchange between Germany and its Eastern Neighbors, 1910-1930, Jacobs University, Bremen, October 2013

International Conference, 100 Years of Abstract Art: Theory and Practice, Jacobs University, Bremen, May 2013

International Symposium, The Lives of Form: Abstract Art and Nature, Jacobs University, Bremen, August 2009 (with Paul Crowther)

Symposium, Art before and after Ideology, National Humanities Center, Research Triangle Park, NC, April 2008 (with Nina Gourianova, Chicago)

Symposium, Nähe & Ferne: Der Beitrag der russischen Kunst zur europäischen Moderne [Near and Far: The Contribution of Russian Art to European Modernism], International University Bremen, Germany, August 2006 (with Ada Raev, Berlin)

International Conference, Art and Metaphysics in the Twentieth Century and Beyond, International University Bremen, Germany, May 2006 (with Paul Crowther and Ursula Frohne)

Workshops of the Russian Art & Culture Group:

“What Is to Be Done – Now? Discussions of Scholarship on So-called ‘Russian’ Art and Culture,” 10^th Workshop of the Russian Art & Culture Group, Constructor University, Bremen, September 2024 (with Sebastian Borkhardt, Ludmila Piters-Hofmann, Irina Riznychok, Georgi Sokolov)

“Methods Workshop,” 9^th Workshop of the Russian Art & Culture Group, Constructor University, Bremen, September 2023 

“The Problem of Religious Art in Modernity: Uses and Abuses of the Icon in Russia,” 8^th Workshop of the Russian Art & Culture Group, Institute of Human Sciences, Vienna, October 2020 (with Clemena Antonova and Ludmila Piters-Hofmann)

“What is to be Done? – Discussions in Russian Art Theory and Criticism II,” 7^th Workshop of the Russian Art & Culture Group, Jacobs University, Bremen, September 2019 (with Miriam Leimer and Ludmila Piters-Hofmann)

“What is to be Done? – Discussions in Russian Art Theory and Criticism I,” 6^th Workshop of the Russian Art & Culture Group, Jacobs University, Bremen, September 2018 (with Tanja Malycheva and Ludmila Piters-Hofmann)

“Russian Art on the Rise / Russische Kunst im Aufbruch,” 5^th Workshop of the Russian Art & Culture Group, Jacobs University Bremen / Freie Universität Berlin, September 2017 (with Ludmila Piters-Hofmann and Viktoria Schindler)

“Intersections of Art, Science, and Technology in Soviet Film and Culture,” 4^th Workshop of the Russian Art & Culture Group, Jacobs University, Bremen, September 2016 (with Hanin Hannouch)

“Russian Art: Building Bridges between East and West. In Memoriam Dmitry Sarabyanov,” 3^rd Workshop of the Russian Art & Culture Group, Jacobs University, Bremen, November 2015 (with Sebastian Borkhardt and Tanja Malycheva)

“Russian Art: Changing Perceptions,” 2^nd Workshop of the Russian Art & Culture Group, Jacobs University, Bremen, June 2015 (with Tanja Malycheva und Rebecca Wichmann)

“Russian Art: Graduate Workshop,” 1st Workshop of the Russian Art & Culture Group, Jacobs University, Bremen, March 2014

Supervision of PhD Dissertations:

Georgi Sokolov, A Field of Tension: The Genesis of Leningrad Nonconformist Art, chair, begun 2023

Natasha Fedorenko, The Soviet Unofficial Artist between Thaw and Stagnation: Negotiating an Identity between the State, the Underground Scene, and Everyday Life, second supervisor, begun 2023

Marat Ismagilov, The Society for the Encouragement of Artists: Between the State and the Public Sphere, 1820- 1870, second supervisor, begun 2022

Federike Buda, “Freundeskreis Reichsführer SS“ – economic and political networking and National Socialism, second supervisor, begun 2021

Miriam Leimer: Zwischen künstlerischer Forderung und politischer Inanspruchnahme. Die “Erste Russische Kunstausstellung” 1922 in Berlin, University of Hamburg, external supervisor, completed in November 2023

Ludmila Piters-Hofmann, National Art in the Context of Cosmopolitan Cultural Transfer: Folk Tales in the Work of Viktor Vasnetsov (1848-1926), chair, completed in October 2023

Stefanie Bräuer: Oszillografie in der Medienkunst, University of Basle, external supervisor, completed in December 2021

Lisa Hörstmann, Der südafrikanische Siedlerprimitivismus zwischen 1920 und 1970, Freie Universität Berlin, external reviewer, completed in November 2021

Veronica Bremer: The Second Wave of Bauhaus Artists: The Collings Duo and the Two Richards in Australia, chair, completed in June 2021

Ela Krieger: Repetition and Mediality in the Work of Jasper Johns, chair, completed in June 2019

Nina Blum de Almeida: Hein Semke (1899-1995) – A German Artist in Portugal, chair, completed in December 2018

Tanja Malycheva: Das Porträtschaffen von Valentin Serov im gesamteuropäischen Kontext, Westfälische Wilhelms-Universität Münster, external reviewer, completed in July 2018

Hanin Hannouch: Sergei Eisenstein as Art Historian, IMT Lucca, Institute For Advanced Studies, external supervisor, completed in December 2017

Kirill Chunikhin: The Representation of American Visual Art in the USSR during the Cold War (1950s to the late 1960s), chair, completed in June 2016

Judith Rozner, Alberto Burri: The Art of the Matter, University of Melbourne, external reviewer, completed in May 2015

Sophie Gerlach: Neo Rauch – A German Painter within German Traditions?, second reviewer, completed in September 2009

Laura Petican: The Persistence of a Baroque Mentality in Arte Povera, chair, completed in August 2009

Isabelle Schwarz: The Artistic Concept of the European Archives for Artists’ Publications, chair and second supervisor, completed in May 2006