• Seit Juli 2023: Professorin am Kunsthistorischen Institut der Eberhard-Karls-Universität, Tübingen
• 2022–2023: William C. Seitz Senior Fellow, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC
• 2017–2018: Forschungsstipendium für erfahrene Forschende, Alexander von Humboldt Stiftung (Gastgeber: Kunsthistorisches Institut, Freie Universität, Berlin)
• 2017–2023: Associate Professor (mit Tenure) am Kunsthistorischen Institut, University of Southern California
• 2013–2015: Collaborative Research Fellowship, American Council of Learned Societies
• 2011–2023: Affiliertes Fakultätsmitglied der USC Visual Studies Research Institute
• 2011–2017: Assistant Professor am Kunsthistorischen Institut, University of Southern California
• 2009–2011: Harper-Schmidt Postdoctoral Fellowship, Society of Fellows, University of Chicago
• 2009: Ph.D., Kunst- und Architekturgeschichte, Harvard University
• 2008–2009: Mellon Dissertation Completion Fellowship, American Council of Learned Societies
• 2006–2007: Fulbright Grant, Deutschland (Gastgeber: Kunstgeschichtliches Seminar, Universität Hamburg)
• 2004–2005: Mongan Curatorial Fellow, Harvard Art Museums
• 2002–2003: Andrew W. Mellon Foundation Fellowship in Humanistic Studies
• 2004: A.M., Kunst- und Architekturgeschichte, Harvard University
• 1999: B.A., Kunst- und Architekturgeschichte, Yale University

• Kunst, Architektur und Kunstkritik des 19. und 20. Jh.
• Geschichte der Fotografie und Faksimilereproduktion
• Abstraktion, Collage und Raumgestaltung
• Kunst im Exil
• Historiografie der Kunst- und Bildwissenschaft

2022–2025: Initiatorin und Mitglied der Forschungsgruppe „Images Out of Time: Visual and Material Culture in a Digital Age,“ Humanities Initiatives for Colleges and Universities, National Endowment of the Humanities am USC Visual Studies Research Institute

Kurt Schwitters: Space, Image, Exile. Chicago: University of Chicago Press, 2014. 352 pages. https://press.uchicago.edu/ucp/books/book/chicago/K/bo16956324.html

Herausgeberin: Kurt Schwitters, Myself and My Aims: Writings on Art and Criticism. Translation by Timothy Grundy. Chicago: University of Chicago Press, 2021. 656 pages. https://press.uchicago.edu/ucp/books/book/chicago/M/bo17998666.html

Mit Sarah Hamill herausgegeben: Photography and Sculpture: The Art Object in Reproduction. Los Angeles: Getty Publications, 2017. 328 pages.

Mit Harry Cooper herausgegeben: Frank Stella 1958 (New Haven: Yale University Press/Harvard Art Museums, 2006). 168 pages. https://yalebooks.yale.edu/book/9780300109177/frank-stella-1958

“The Ghost and the Rock: Albert Renger-Patzsch and the Shape of Time,” Art History 46, no. 1 (February 2023): 124–53. https://doi.org/10.1111/1467-8365.12696.

“Metalwork and Serial Sculpture in Germany, 1870–1930,” West 86th: A Journal of Decorative Arts, Design History, and Material Culture 28, no. 2 (Fall–Winter 2021): 284–89.

“An Introduction to Merz-Thought,” in Kurt Schwitters, Myself and My Aims: Writings on Art and Criticism (Chicago: University of Chicago Press, 2021), xiii–xxvi.

“The Factotum of Industry: Max Klinger’s Beethoven,” kritische berichte 48, no. 3 (October 2020): 81–94.

“Formlinge: Carola Giedion-Welcker, Hans Arp, and the Prehistory of Modern Sculpture,” Hans Arp and Other Masters of 20th Century Sculpture, ed. Jana Teuscher and Elisa Tamaschke (Berlin: Stiftung Hans Arp and Sophie Taeuber-Arp, 2020), 54–67.

“A Picture is a Shaped Thing” [on Frank Stella, Michael Fried, and Max Imdahl], OCTOBER 168 (Spring 2019): 148–65; deutsche Übersetzung, “Ein Bild ist ein geformtes Ding,” in Michael Frieds “Shape as Form” und die Kritik der Form von 1800 bis zur Gegenwart, eds. Ralph Ubl and Rahel Villinger (Munich: Wilhelm Fink, 2018), 103–122.

“Modern Sculpture, A Photobook,” in Instant Presence: Representing Art in Photography, ed. Hana Buddeus (Prague: Artefactum, 2018), 198–216.

“Painting in the Round,” Getty Research Journal no. 9, S1: Special Issue on Jackson Pollock’s Mural (2017): 149–82.

“Artificial Blindness: Objecthood and the Photography of Sculpture,” in Photography and Sculpture: The Art Object in Reproduction, eds. Sarah Hamill and Megan R. Luke (Los Angeles: Getty Publications, 2017), 138–52.

Mit Sarah Hamill, “Reproductive Vision: Photography as a History of Sculpture,” in Photography and Sculpture: The Art Object in Reproduction, eds. Sarah Hamill and Megan R. Luke (Los Angeles: Getty Publications, 2017), 1–32.

“Our Life Together: Collective Homemaking in the Films of Ella Bergmann-Michel,” Oxford Art Journal 40, no. 1 (March 2017): 27–48; deutsche Übersetzung, “Unser Zusammenleben: Kollektive Haushaltsführung in den Filmen von Ella Bergmann-Michel,” in Ella Bergmann-Michel und Robert Michel—Ein Künstlerpaar der Moderne ed. Karin Orchard (Hannover: Sprengel Museum, 2018), 105–17.

“The Wandering ‘Merzbau,’” in CIHA 2012: The Challenge of the Object / Die Herausforderung des Objekts. Proceedings of the 33rd Congress of the International Committee of the History of Art, eds. G. Ulrich Großmann, Petra Krutisch, and Almuth Klein (Nürnberg: Germanisches Nationalmuseum, 2013), 1242–44.

“Sculpture for the Hand: Herbert Read in the Studio of Kurt Schwitters,” Art History 35.2, Special Issue, “British Art and the Cultural Field, 1939-69” (April 2012): 234­–251; republished in British Art and the Cultural Field, eds. Lisa Tickner and David Peters Corbett (London: Wiley-Blackwell, 2012), 36–53.

“The Photographic Reproduction of Space: Wölfflin, Kracauer, Panofsky,” RES. Anthropology and Aesthetics 57/58 (Spring/Autumn 2010): 339–43.

“Spazio irradiante, fantasmagoria didascalica [Radiating Space, Didactic Phantasmagoria],” in Kurt Schwitters. Riga 29, ed. Elio Grazioli (Milan: Marcos y Marcos, 2009), 256–64.

“Objecting to Things,” in Frank Stella 1958, eds. Harry Cooper and Megan R. Luke (New Haven: Yale University Press, 2006), 1–65.

“Sculpture in an Age of Mass Reproduction,” Future Bodies from a Recent Past: Sculpture, Technology, and the Body since the 1950s (Munich: Museum Brandhorst, 2022), 195–202.

“A Withdrawal from Appearance: George Grosz and Kurt Schwitters,” in Private Passion, Civic Spirit: Robert Gore Rifkind and German Expressionism, eds. Stephanie Barron and Timothy O. Benson (Los Angeles: Los Angeles County Museum of Art, 2021), 72–79.

“Kurt Schwitters: Systemschrift,” in Engineer, Agitator, Constructor: The Artist Reinvented, 1918–1939, eds. Jodi Hauptman and Adrian Sudhalter (New York: The Museum of Modern Art, 2020), 208–13.

“Hall of Mirrors,” in Günther Förg: A Fragile Beauty, ed. Gavin Delahunty (Dallas and Amsterdam: Dallas Museum of Art/Stedelijk Museum, 2018), 84–91.

 “The Art History of Intensive Intentions: Der Hang zum Gesamtkunstwerk,” in Harald Szeemann: The Kingdom of Obsessions, eds. Glenn Phillips and Philipp Kaiser (Los Angeles: Hammer Museum and Getty Research Institute, 2018), 182–99; deutsche Übersetzung, “Eine Kunstgeschichte intensiver Intentionen,” in Harald Szeemann. Museum der Obsessionen (Zurich: Scheidegger & Spiess, 2018), 183–200.

“The Trace of Transfer: Displacement on Paper” in Artists in Exile: Expressions of Loss and Hope, ed. Frauke Josenhans (New Haven: Yale University Art Gallery, 2017), 128–41.

“Corollary Happenings: On Frederick Kielser’s Galaxies,” in Frederick Kiesler: Life Visions, eds. Dieter Bogner, Maria Lind, and Bärbel Vischer (Vienna: MAK Österreichisches Museum für angewandte Kunst/Gegenwartskunst, 2016), 166–171.

“Still Life/Commodity,” in New Objectivity: Modern German Art in the Weimar Republic, 1919–1933, eds. Stephanie Barron and Sabine Eckmann (Los Angeles: Los Angeles County Museum of Art, 2015), 228–41.

“Togetherness in Exile: Kurt Schwitters’ English Sculptures,” in Schwitters in Britain, eds. Emma Chambers and Karin Orchard (London: Tate Britain, 2013), 42–55; deutsche Übersetzung, “Miteinander im Exil,” Schwitters in Britain (Ostfildern: Hatje-Cantz, 2013), 42–55.

“Kurt Schwitters,” in Eye on a Century: Modern & Contemporary Art from the Collection of Charles B. Benenson, ed. Cathleen Chaffee (New Haven: Yale University Art Gallery, 2012), 46–48.