“Modernisms”: Steering Group

The following scholars are members of the steering group that conceptualized and organized the academy. They take vital part in the academy by participating in thematic sessions and other events.

Hannah Baader

is Permanent Senior Research Fellow at the Kunsthistorisches Institut in Florenz, Max-Planck-Institut and Academic Program Director of the research and fellowship program Art Histories and Aesthetic Practices and “Connecting Art Histories in the Museum”. She holds a doctorate from the Freie Universität Berlin with a thesis on portraiture and languages of friendship and had research positions at the Bibliotheca Hertziana, Rome, and at the art historical department at the Freie Universität. From 2007 to 2012 she was Head of the Minerva Research Group “Art and the Cultivation of Nature 1200-1650”. Together with Kavita Singh, she has developed the Max-Planck Partner Group “The Temple and the Museum”, at JNU, New Delhi, since 2009. She received grants by the Gerda-Henkel-Stiftung and the Getty Foundation for “Art, Space and Mobility in Early Ages of Globalization. The Mediterranean, Central Asia, and Indian Subcontinent”, together with Avinoam Shalem and Gerhard Wolf. In 2014, she was a Fellow at the Getty Research Institute, Los Angeles. Currently she is working on a book project on maritime iconology in early modern times and she co-authored a book project on transcultural Art History before Modernity.

Lena Bader

is a research director at the German Center for Art History in Paris (DFK Paris) and is responsible for the institute’s German publications. She worked as a research assistant at the Berlin-Brandenburg Academy of Sciences and Humanities in Berlin, Germany’s Documentation Centre for Art History – Bildarchiv Foto Marburg, and the Hermann von Helmholtz-Centre for Cultural Techniques (HZK) at the Humboldt University of Berlin. She was a fellow of the post-graduate program “Image and Knowledge” within the NCCR Iconic Criticism in Basel, and she received a scholarship from the German Center for Art History in Paris (DFK Paris) as part of the annual theme, “Poiesis: Doing and Making in the Arts”. In 2010/2011, she took over the scientific coordination of the DFK’s annual topic “Talking Images”. She received her PhD from the Humboldt University of Berlin with a thesis on the (visual) history of art history, supervised by Horst Bredekamp and Andreas Beyer. Her research interests are: the history of science, image theory, intercultural art exchanges, and cultural transfer. She is currently working on touring images in the twentieth century.

Jens Baumgarten

studied Art History and History in Hamburg and Florence. After post-doctorate fellowships in Dresden, Germany, Mexico-City and Campinas, Brazil he became Professor of Art History at the History Department of the Federal University of São Paulo (Universidade Federal de São Paulo), where he later established one of the first autonomous departments of Art History in Brazil. In 2010 he was visiting scholar at the Getty Research Institute. He is a member of the Brazilian Committee of Art History (CBHA). He specializes in early modern art history of Latin America and Europe as well as in historio-graphy of art, visual culture and its theoretical and methodological contexts. He is the author of Image, Confession, and Power (in German, 2004), several articles, and is now preparing a book on “Visual Systems in Colonial Brazil” and “São Paulo as a Neo-Baroque City”.

Thierry Dufrêne

was Alumnus of the Ecole Normale Superieure (1977-1980) and Professor of History of Art at the University Paris Ouest Nanterre La Defense. Thierry Dufrêne published, among others, Giacometti. The Dimensions of Reality, Geneva, Skira, (1993), The Big Gallery of sculptures, Paris, Center Pompidou Pompidou/Louvre/Orsay (2005), Giacometti / Genet. Masks and modern portrait, Paris, Vilo (2006), David Nash, Paris, Gallery Lelong (2012), Dali. Double image, double life, Paris, Hazan (2012) and La poupée sublimée. Quand Niki de Saint-Phalle et les artistes contemporains font des poupées, Paris, Skira (2014). He was one of the curators of the exhibition Salvador Dali (Pompidou Center, 2012-2013, Museo Reina Sofia, Madrid, 2013-2014) and of the exhibition Persona. Etrangement humain (Musée du Quai Branly, January-October 2016). He is currently preparing a book on the history of contemporary sculpture (Hazan/Hachette). From 2007 to 2013, he was Deputy Head of the Institut National d’Histoire de l’Art (Paris). He is a member of the Comité français d’Histoire de l’art and of AICA International (International Association of Art Critics) and he is chief editor of the journal 20/21. Cahiers du Centre Pierre Francastel (2008-); he belongs to the editorial committee of the journal Diogenes (UNESCO). He was invited to teach and give lectures in several countries. Since 2004, the Academic Secretary of CIHA, he has organized 2 CIHA’ colloquia : “Art history and anthropology” in June, 2007 at the Musée du Quai Branly (Paris) and “Civilization(s) : Mediterranean Sea and beyond” in June, 2014, at the MUCEM (Marseilles).

Patrick Flores

is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He is Adjunct Curator at the National Art Gallery, Singapore. He was one of the curators of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008). He was a grantee of the Asian Cultural Council (2010) and a member of the Advisory Board of the exhibition The Global Contemporary: Art Worlds After 1989 (2011) organized by the Center for Art and Media in Karlsruhe and member of the Guggenheim Museum’s Asian Art Council (2011 and 2014). He co-edited the Southeast Asian issue with Joan Kee for Third Text (2011). He convened in 2013 on behalf of the Clark Institute and the Department of Art Studies of the University of the Philippines the conference “Histories of Art History in Southeast Asia” in Manila. He was a Guest Scholar of the Getty Research Institute in Los Angeles in 2014. He curated the Philippine Pavilion at the Venice Biennale in 2015.

Ana Gonçalves Magalhães

has been Associate Professor at the Museum of Contemporary Art of the University of São Paulo (MAC USP), Brazil, since 2008, where she is involved both in curatorial research, teaching and supervising undergraduate and graduate students. Her current research focuses on a collection of Italian modern paintings belonging to MAC USP that were acquired for the creation of the former São Paulo Museum of Modern Art (MAM). The first part of this research was presented in the exhibition Classicism, Realism and Avant-Garde: Italian Painting in Between the Wars that she curated at MAC USP, in 2013, accompanied by the international seminar “Latin Modernity: The Italians and the Centers of Latin-American Modernism”. The second part of the research was presented as her habilitation thesis in 2015, titled “Modern Classicism: Margherita Sarfatti and Italian Painting at the Collection of MAC USP”, now under preparation for publication in Portuguese.

Margit Kern

is professor for Art History at the Universität Hamburg. She taught as professor for History of Spanish and Latin American Art at the Kunsthistorisches Institut of  Freie Universität Berlin from 2011 until 2012. From 2009 until 2011 she was an assistant professor of Art History at the Theologische Fakultät of Humboldt-Universität zu Berlin. Her habilitation took place in 2010 at Freie Universität Berlin. The book deals with concepts of sacrifice in the missions in New Spain and in Europe in the early modern era. The aim of the book is to write a form of “entangled histories” demonstrating that also Europe changed itself in contact with the Americas. In order to promote studies in Spanish and Latin American Art in German art history she founded the Arbeitsgruppe “Spanische und iberoamerikanische Kunstgeschichte” in 2006. In 1998 she received her PhD for a study of the art of the Reformation (“Tugend versus Gnade” – awarded the Martin-Luther-Preis in 2000). She specializes in art of the early modern era, investigating religious art and the processes of transcultural negotiation in art. In 2011 she received a Feodor Lynen Fellowship of the Alexander von Humboldt Foundation to spend nine months at Yale University working on photobooks dealing with Mexico.

Thomas Kirchner

has been the director of the German Center of Art History in Paris since February 2014 . He received his PhD at the University of Bonn with a thesis on “Expression des passions. Ausdruck als Darstellungsproblem der französischen Kunst und Kunsttheorie des 17. und 18. Jahrhunderts” (Mayence 1991). He was assistant professor at the Freie Universität Berlin where he submitted his habilitation treatise on “Der epische Held. Historienmalerei und Kunstpolitik im Frankreich des 17. Jahrhunderts” (Munich 2001, French translation Paris 2008). Before directing the institute in Paris he was Professor of Art History at the universities of Heidelberg and Frankfurt where he taught modern art and art theory. His research has focused on French art and art theory of the Ancient Régime, on art and sciences, art and politics, art and the history of emotions, the artistic life in Paris during the Ancien Régime, and art after World War II. He was a visiting professor at French and American universities. In 2011/12 he was a scholar of the Getty Research Institute.

Anne Lafont

is a historian of the art and visual cultures of the modern world. Her work bears principally on art in an eighteenth-century imperial context and on arts historiography in the contemporary era. Associate Professor in Art History at the University of East Paris/Marne-la-Vallée (UPEM) from 2003 on, she joined the French National Institute of Art History (INHA) in 2007. There, she has been engaged for five years in historiographical research programs (art and science; art and nationalism; gender studies and art discourses) before becoming editor-in-chief of the INHA review Perspective. Anne Lafont is the author of a monograph on the french painter Girodet (Paris: Adam Biro, 2005). She has edited Plumes et pinceaux. Discours de femmes sur l’art en Europe 1750-1850, 2 vols (Paris: Presses du Réel, 2012) and she just completed a book on Art and Race in the Age of Enlightenment.

Gabriela Siracusano

received her PhD in Art History at the Universidad de Buenos Aires (UBA). She is a Career Scientific Researcher at the National Research Council of Argentina (CONICET). She was a Professor of Colonial Art at the Universidad Nacional de San Martín (2004-2015) and she is Professor of Theory and Art Historiography at UBA (1996 till present). She is the Director of the Centro de Investigación en Arte, Materia y Cultura at the Universidad Nacional de Tres de Febrero. She was a 2003-2004 Getty Postdoctoral Fellow and 2006-2007 John Simon Guggenheim Fellow. Siracusano is a Visiting Professor and Scholar at many universities and research institutions and is currently a Getty Scholar (2016). She is the author of several articles and books regarding a cultural approach to materiality in South American colonial art history (16th to 18th century), such as El Poder de los colores (Buenos Aires, FCE, 2005; ALAA and AACA awards; English version: Pigments and Power in the Andes (London, Archetype, 2011) and La Paleta del Espanto (Buenos Aires, Unsamedita, 2010). She is now the Director of several research projects concerning historical and chemical approaches to Spanish American colonial art, such as “Materiality Between Art, Science and Culture in the Viceroyalties (16th to 18th centuries)” sponsored by The Getty Foundation, based at the Universidad Nacional de Tres de Febrero.

Diana Beatriz Wechsler

has received her PhD in art history (University of Granada) with a doctoral dissertation (1995) “Crítica de arte, condicionadora del gusto. La consagración y el consumo de obras de arte. Buenos Aires 1920- 1930”, under the direction of Prof. Ignacio Henares Cuéllar. She is a Career Scientific Researcher at the National Research Council (CONICET) and the Director of the Instituto de Investigaciones en Arte y Cultura “Dr. Norberto Griffa” (UNTREF). She was a curator of many relevant international exhibitions, an art critic and the Director of the Master’s program in Curatorial Studies in Visual Arts at the Universidad Nacional de Tres de Febrero de Buenos Aires, Argentina. Wechsler is Co-director of the Museo de la Universidad Nacional de Tres de Febrero. She has been a Getty Postdoctoral Fellow (1999-2000). She authored many articles, catalogues and books, mostly related to Latin American art, from Modernism to Contemporary art.

OpenEdition schlägt Ihnen vor, diesen Beitrag wie folgt zu zitieren:
Academies Editorial Board (9. April 2016). “Modernisms”: Steering Group. TRANSREGIONAL ACADEMIES. Abgerufen am 25. Juli 2024 von https://doi.org/10.58079/ajmy

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