Dr Jutta Vinzent MA, DrPhil, PhD, PGCert

Department of Art History, Curating and Visual Studies
Senior Lecturer in Modern and Contemporary Art and Visual Culture

Contact details

Address
School of Languages, Cultures, Art History and Music
College of Arts and Law
University of Birmingham
Edgbaston
Birmingham
B15 2TT
UK

Jutta Vinzent specializes in modern and contemporary art. She focuses on issues of Migration Studies and Postcolonialism as twentieth-century narratives with a particular emphasis on art practices, exhibition cultures, spatial-temporal issues and identity formation in Germany and Britain in the 1930s and post-1989 Europe.

Having been awarded a three-year Research Fellowship at the Max Weber Center for Advanced Cultural and Social Studies, University of Erfurt, Germany, Jutta Vinzent will be absent from the University of Birmingham (though you can still reach her under the email address mentioned above).

Qualifications

PhD in History of Art (University of Cambridge, UK)

Dr. Phil. in German Literature (University of Cologne, Germany)

M.A. in German Literature with History of Art and Philosophy (University of Munich, Germany)

PG Cert. in Teaching in Higher Education (University of Birmingham)

Teaching

Undergraduate level

  • Year 1: Modernism
  • Year 2: Landmarks of Western Visual Cultures, 1930s to the present; Inside the Gallery; Research Techniques
  • Final year: Contemporary Art and Postcolonialism

Postgraduate level

  • Critical Approaches, 40 credits (2001-2011)
  • Research Training, 20 credits (2009-2012)
  • Curating Research, 40 credits (2010-2012)
    This module involved the curating an exhibition. The following were held at the Barber Institute of Fine Arts, Birmingham (since 2012 in collaboration with the National Portrait Gallery, London):
    2012, 25 May-27 Aug. Facing the Music. Twentieth-Century Portraits of British Composers
    2011, 27 May-29 Aug. Tennis Memorabilia (with loans from a private collection)
    2010, 10 June-1 Aug.  Print Power
    For further information and annual exhibitions since 2012, see http://barber.org.uk/exhibitions/

The overwhelming positive response to the module ‘Curating Research’ led to the design and introduction of the MA programme ‘Art History and Curating’ introduced in 2014.

Furthermore, fuelled by my research on exhibitions manifested in publications, conference contributions (papers and session convening), by supervising dissertations and research theses on histories of exhibitions and galleries (for details of both see below), and by designing and teaching the undergraduate module ‘Inside the Gallery’ led to exhibitions and curating becoming a central strand for the entire department so that it was renamed ‘Art History, Curating and Visual Studies’ in 2015.

In 2015/16 (winter semester) I applied parts of the model of this MA programme to that offered by a university in Germany. I initiated, designed and co-conducted the exhibition placement programme for the art museums in Erfurt, Germany as part of the Master programme Sammlungsbezogene Wissens- und Kulturgeschichte (Knowledge and Cultural History through Collections), University of Erfurt, Germany (see for the programme:  https://www.uni-erfurt.de/studium/studienangebot/master/swk/).

In 2015 and 2016 students were involved in preparing the exhibition Performing Bodies. Raum und Zeit bei Meister Eckhart und in Videoinstallationen von Taery Kim / Performing Bodies. Space and Time in Meister Eckhart and Video Installationen of Taery Kim, Galerie Waidspeicher (Michaelisstr. 10, 99084 Erfurt, Germany, http://www.galerie-waidspeicher.de/home/).

The forerunner of the exhibitions mentioned above under ‘Curating Research’ was the annual PG exhibition of the department, each mentored by another member of staff as a voluntary undertaking, though without any programme credits for the students; this, in turn, was initiated by the 2005 show Art and Migration the first exhibition at the department curated by postgraduate and undergraduate students (primarily led by Dr Jennifer Powell, at the time a PhD student under the supervision of Dr Jutta Vinzent). Different from the exhibitions as part of the module, which only have a pamphlet published (2-paged folded A3-size), these exhibitions came with an exhibition catalogue; here is the list of these:

2009Building the Future. Birmingham’s Architectural Story, 5-18 June 2009 (under the mentorship of David Hemsoll and with loans from the RBSA, Birmingham); David Hemsoll (ed.), Building the Future (with contributions by David Hemsoll, Hazel Weston, Barbara Forgarty, Amy Shulman, Lucy Blackford, Richard Horley, Victoria Jones, Tamsin Foulkes, Elizabeth Moore, Georgina Webb-Dickin and Tess Radcliffe), Birmingham: Barber Institute of Fine Arts, 2009, 30 pp 

2008 - Publicity and Perversity. The English Satirical Print, 1750-1950, June 2008 (under the mentorship of Dr Camilla Smith); Camilla Smith (ed.), Publicity and Perversity. The English Satirical Print, 1750-1950 (with contributions by Naomi Blackbourn, John Blythe, Guanyu Li, Samantha McElroy, Elizabeth Moore, Fran Schneider, Katrin Seyler and Danielle Thom), Birmingham: Barber Institute of Fine Arts, 2008, 20 pp

2007 - Art and the Periodical. An Exhibition of Modern Magazines, 8-13 June 2007 (under the mentorship of Dr Francesca Berry); Francesca Berry (ed.), Art and the Periodical. An Exhibition of Modern Magazines (with contributions by Nellie Gilson, Antonia Grousdanidou, Natalie Jones, Chad Morris, Emily Porter-Salmon, Katrin Seyler and John Tepe), Birmingham: Barber Institute of Fine Arts, 2007, 47 pp

2006 - Travel by the Book, June 2006 (under the mentorship of Dr Richard Clay); Richard Clay (ed.), Travel by the Book (with contributions by Susan Rasmussen, Allan Reynolds, Camilla Smith and Caroline Walker), Birmingham: George Bell Institute, 2006, 88 pp and 15 b.&w. illustrations  

2005 - Art and Migration, 11-15 July 2005 (under the mentorship of Dr Jutta Vinzent); Jennifer Powell and Jutta Vinzent, Art and Migration. Art Works by Refugee Artists from Nazi Germany in Britain, Birmingham: George-Bell-Institute (Humanitas Subsidia Series, 2), 142 pp with 24 illustrations (second, revised edition published as Visual Journeys: Art in Exile in Britain, Chichester: George Bell Institute, 2008, 143 pp with 24 illustrations

Postgraduate supervision

I supervise MA dissertations, MPhil and doctoral theses on modern and contemporary art (preferred areas include any aspect of migration and diasphoric communities related to Germany and Britain, post-socialist issues in a European context, exhibition cultures in Germany, Britain or post-1989 Europe). My former students have been able to be appointed to positions in galleries (Tate Britain, London and Kettle’s Yard, Cambridge), but also universities (Jaber University, Kuwait and the University of Birmingham) and in law firms.

Successful completion

PhD

  • 2013 Richenda Roberts, 'Patriotism is not enough': Visual responses to pacifism and feminism in Britain during World War One (AHRC-funded, co-supervision with Dr. Francesca Berry)
  • 2012 Moayad Hussein, Western influences on Khalifa Qattan's Circulism (funded by the Cultural Office of the Kuwaiti Embassy, London)
  • 2012 Marie Considine, Social history's regional aspects: Bernard Fleetwood-Walker and the RBSA (Royal Birmingham Society of Arts) in the first half of the twentieth century
  • 2011 Charlotte Gore, Internationalism, nationalism, regionalism: art colonies in Germany (Worspwede, Neu-Dachau and Eifel Gruppe)
  • 2009 Jenny Powell, Anglo-French exchanges in post-war exhibition cultures in London (AHRC-funded)

MPhil

  • 2013 Imogen Wiltshire, Arthur Segal's Painting School for Professionals and Non-Professionals from 1937 to 1944 (AHRC-funded)
  • 2012 Julia Abraham, The BLK Art Group and black art in Britain in the 1980s (Raymond Priestley Scholarship)
  • 2011 Antonia Grousdanidou, The Production of Space and the Ikon Gallery, Birmingham: From Art Object to Art Institution, 1963-1978
  • 2011 Amy Shulman, Photography, Memory and Identity: The Émigré Photographer Lisel Haas (1898-1989)
  • 2010 Georgina Webb Dickin, The performative role of the Berlin wall and the reception of postmodernism beyond it
  • 2009 Richenda Roberts, Pacifism and gender: censorship and the anti-war art of Evelyn De Morgan (AHRC-funded, co-supervision with Dr. Francesca Berry)
  • 2009 Chad Morris, The Superman. Idea and representation of the superman in comic books of the 1930s and 1940s
  • 2004 Jenny Powell, Germaine Richier and Existentialism (AHRB-funded)

In progress

  • Amy Shulman, The impact of émigré photographers on Picture Post (PhD, Haywood Scholar 2011-13)
  • Imogen Wiltshire, Arthur Segal: Art Practice and Psychoanalysis (PhD, AHRC-funded)

Research

I am currently working on two projects:

  • Modern Conceptions of Space (book manuscript)
  • The Making of Modern Art through Commercial Art Galleries in London, 1909-1949 (project)

Research fellowships and invited professorship

  • 2015/09 - 2018/08 Fellow at the Max Weber Center for Advanced Social and Cultural Studies, University of Erfurt, Germany
  • 2014, 15 Oct - 14 Dec. Research Fellow, Research Excellence Cluster Topoi of the Freie Universität and the Humboldt Universität, both Berlin (https://www.topoi.org/area/b/) (B5; with the topic ‘Open and closed concepts of space as theme and method)
  • 2012, Jan-July Fellow at the Max Weber Center (see above)
  • Since 2010 Adjunct Professor, Korea University, Seoul, South Korea (like the University of Birmingham, Korea University belongs to Universitas 21, the leading global network of research universities)

Editorial Board

  • Since 2015 One of ten international Editorial Board members of SpatioTemporality. Practices - Concepts - Media / RaumZeitlichkeit. Praktiken – Konzepte – Medien, published by Walter de Gruyter (Berlin; New York), see  http://www.degruyter.com/
  • Since 2008 Review Member of Birmingham Journal For Europe.

Reviewing research applications and publications

  • Academic member of the AHRC's Peer Review College (2010-2014)
  • 2011 Reviewer of ARTMargins: Central and East European Visual Culture for the MIT Press
  • 2010 and 2012 External project reviewer for the DAAD
  • 2009 Reviewer for WWTF (Vienna Science and Technology Fund)
  • 2003 Book reviewer for Manchester University Press

Successful grants

Overcoming Dictatorships (Co-I)

Funded by the European Union (scheme ‘Culture 2000’) with € 513.688 (15/11/2006-14/05/2009)

The project explored ways in which artists and writers dealt with the political changes in Europe, in particular the opening of socialist countries since the end of the 1980s. A number of symposia held in the seven participating European countries (Poland, the Czech Republic, Hungary, Romania, Italy, Germany and Britain) explored forms of remembrance of authoritarian systems (Socialism, Fascism, National Socialism) and anxiety of new ones (consumerism, globalization, mass media). Critical attention was also drawn to the EU’s unifying character in the light of cultural diversity.

PI: Prof. Dr. Dr. Gerhard Besier, Technische Universität, Dresden, Germany; further Co-Is: Prof. Dr. Ehrhard Cziomer, Krakowska Szkoła Wyższa im. Andrzeja Frycza Modrzewskiego, Kraków, Poland; Dr. Marius Oprea, Institute for the Investigation of Communist Crimes in Romania, Bucharest, Romania; Doc. PhDr. Kristina Kaiserová CSc., University of Jan Evangelista Purkyně in Ústí nad Labem, Czech Republic; Katalin Gádoros for Prof. Dr. István Rév, Open Society Archives, University of Budapest, Budapest, Hungary; Prof. Dr. Gustavo Corni, University of Trent, Italy).

The artists involved in the project were Zbynĕk Benýšek, Zbigniew Czop, Mirela Dauceanu, Ulf Göpfert, Harald Hauswald, Silvestro Lodi, Vlad Nancă, Sándor Pinczehelyi, Michele Zaggia and Aleksander Zyśko.

Outputs

Two publications:

Furthermore:

  • A European network that has made possible transnational and interdisciplinary dialogues
  • A website and a blog while the project was running
  • An international exhibition touring through Europe in 2008/9 (University of Birmingham, The National Museum of Contemporary Art at the Ion Creanga National Theatre, Bucharest and Town Hall City, Dresden)

Development of Technology-Enhanced Learning in the Department of History of Art (P-I)

Funded by the Learning Development Unit, University of Birmingham with £40.388.39 from Sept. 2005 for 24 months.

Based on work carried out as part of my publication on web-based research and teaching material in the History of Art in CHart (Computers and the History of Art), I successfully bid for an innovative project involving the transformation of the large slide library of the Department of History of Art into a digitised source supporting teaching and research, a cutting-edge strategic undertaking at the time. The project has been successfully managed and carried out, and has significantly contributed to cultural changes in approaching the discipline at the University of Birmingham.

Other activities

External examination

  • 2012-2016 External examiner for the BA History of Art programme at the University College London
  • 2015 Joanna Cheetham, Hans Feibusch between Germany and Britain. Networks, Cultural Transfer and Exchange (PhD, Courtauld Institute of Art, London)
  • 2011 Meghan Gilbride, Memory Migrations (PhD upgrading, University College London)
  • 2011 Johannes Mengel, Constructions of Identity in Post-WWII. German Photography: Michael Schmidt and Thomas Demand (MPhil) [Department of History of Art, University of Cambridge]
  • 2011 Daniel Cyrus Jonas Zamani, Surrealism and Myth - the Melusine (MPhil, University of Cambridge)
  • 2010 Adriana Kiss-Davies, The Exile Experience. Hungarian and Czech Cold War Refugee Artists in Britain (PhD, Aberystwyth University)
  • 2009 Verity Mackenzie, Hannah Höch and the Fetish (PhD registration, University of Cambridge)
  • 2008 Verity Mackenzie, Some Species of Whore. The Mannequin as Surrealist Object par excellence (MPhil, University of Cambridge)
  • 2007 Nausikaä El-Mecky, Barlach, Breker, 1937 (MPhil, University of Cambridge)
  • also since 2009 Examiner for the PG Certificate in Teaching in Higher Education, University of Birmingham

Administration at the University of Birmingham

School level

  • Member of the Advisory group for the School Workload Allocation Model (2010-11)
  • School Leaning Resources Representative (2008-10)

Departmental level

  • Director for Placements and Internships (2011-2013)
  • Learning Resources Representative (2001-2013)
  • UG and PG Examinations Officer (2004-2011)
  • Director of Education (2004-11)
  • Web Design Co-Ordinator (2001-8)
  • Welfare Officer and SSCC Lead (2001-4)
  • PG Officer (Autumn term 2007/8)
  • Acting Head of Department (Autumn term 2006/7)

Administration at the University of Erfurt, Germany

University of Erfurt

  • References for research studentships (since 2015)

Max Weber Center for Advanced Cultural and Social Studies

  • Appointment committees for Professorships, Fellows, Post-doc positions and PhD studentships (since 2015)
  • Gleichgestelltenbeauftragte (representative for equal opportunities) (since 2015)
  • References for research studentships (since 2015)

Publications

Copies of my publications can be downloaded from: https://bham.academia.edu/JuttaVinzent

Books

  • 2017 SpatioTemporalities on the Line. Representations – Practices – Dynamics, ed. Sebastian Dorsch and Jutta Vinzent, Oldenburg: De Gruyter, 2017, 280 pp with illustrations
  • 2016 Performing Bodies. Time and Space in Meister Eckhart and Taery Kim, ed. Jutta Vinzent and Christopher M. Wojtulewicz, Leuven: Peeters, 2016 (Eckhart: Texts and Studies, 6), 278 pp and 32 plates (http://www.peeters-leuven.be
  • 2008 Overcoming Dictatorships. Contemporary East and West European Visual Inquiries, Leipzig: Kerber, 2008, 96 pp with 30 plates
  • 2008 with Jennifer Powell, Visual Journeys: Art in Exile in Britain, Chichester: George Bell Institute, 2008, 143 pp with 24 illustrations (2nd edition, revised of Art and Migration, Birmingham 2005; see below)
  • 2006 Identity and Image. Refugee Artists from Nazi Germany in Britain (1933-1945), Kromsdorf/Weimar: VDG Verlag (Schriften der Guernica-Gesellschaft, 16), 400 pp with 128 illustrations2006 Exile and Patronage. Cross-Cultural Negotiations Beyond the Third Reich, ed. Andrew Chandler, Katarzyna Stokłosa and Jutta Vinzent, LIT Verlag: Münster et al., 2006 (Mittel- und Ostmitteleuropastudien, 3), 212 pp with illustrations2006 Edlef Köppen. Aufzeichnungen. Ein Lesebuch, selected and edited by Jutta Vinzent, Wilhelmshorst: Märkischer Verlag, 2006, 254 pp with illustrations
  • 2005 with Jennifer Powell, Art and Migration. Art Works by Refugee Artists from Nazi Germany in Britain, Birmingham: George-Bell-Institute (Humanitas Subsidia Series, 2), 142 pp with 24 illustrations 
  • 1997 Edlef Köppen - Schriftsteller zwischen den Fronten. Ein literaturhistorischer Beitrag zu Expressionismus, Neuer Sachlichkeit und Innerer Emigration mit Edition, Werk- und Nachlaßverzeichnis, Munich: iudicium verlag GmbH, 1997 (Cursus, 14), 354 pp

Contributions to peer-reviewed journals (highlighted), book chapters and an online publication

  • 2016 ‘Austria in Die Zeitung: The Instrumentalisation of Émigré Newspapers during WWII and the Subversive Power of Cartoons’, Tributes to Jean Michel Massing. Towards a Global Art History, Mark Stocker and Phillip G. Lindley (eds), London: Harvey Miller, 2016, 323-343 (10,442 words and 7 illustrations)
  • 2016 ‘Space, Time and Body in Performance Art and Meister Eckhart,’ Jutta Vinzent and Christopher M. Wojtulewicz (eds), Performing Bodies. Time and Space in Meister Eckhart and Taery Kim, Leuven: Peeters, 2016 (Eckhart: Texts and Studies, 6), 217-265 (18,146 words and 13 plates)
  • 2015 ‘Space, Place and Migration in Modern Art’, Salec Minc Lecture, The University of Western Australia Art Collection, Perth, Western Australia; audio-visual recording with transcript: http://www.lwgallery.uwa.edu.au/events/slms/2015lecture-juttavinzent/_nocache
  • 2012 ‘Challenging the abstract in late 1930s Britain’, Encounters with the 1930s, ed. Jordana Mendelson, exhibition catalogue, Museo Nacional Centro de Arte Reina Sofía, Madrid, 3 Oct. 2012-7 Jan. 2013, 140-147
  • 2012 ‘El desafío al arte abstracto. El Reino Unido a finales de los años treinta’,Encuentros con los años treinta, ed. Jordana Mendelson, exhibition catalogue, Museo Nacional Centro de Arte Reina Sofía, Madrid, 3 Oct. 2012-7 Jan. 2013, 140-147 (= Spanish translation of ‘Challenging the abstract in late 1930s Britain’; see above)
  • 2011 ‘Emigrantennetzwerke in Großbritannien zwischen international und national definierter Kunst’, Netzwerke des Exils, ed. Burcu Dogramaci, Berlin: Gebrüder Mann Verlag, 2011, 185-200
  • 2010 ‘East and West German Prints’, Print Quarterly, 3 (2010), 456f.
  • 2010 ‘In Search of Hybridity: Inculturation, Interculturation and Transculturation in Contemporary Religious Art in Britain’, Exchange. A Journal of Missiological and Ecumenical Research, vol. 39, 1 (2010), 29-48
  • 2009 ‘The other of the other. Refugee artists and black subjects’, Forced Journeys. Artists in Exile in Britain, c. 1933-45, exhibition catalogue, Ben Uri Gallery, London, 2009, 80-85 and 94-95
  • 2007 ‘Exilpresse digital in Support of Researching Visual Material: Images in Die Zeitung’The Yearbook of the Research Centre for German and Austrian Exile Studies, ed. Andrea Hammel and Anthony Grenville, Amsterdam/Atlanta: Editions Rodopi 2007 (vol. 9: Refugee Archives: Theory and Practice), 79-93
  • 2007 ‘Learning Resources for Teaching History of Art in Higher Education’, CHArt (Computers and the History of Art), ed. Anna Bentkowska-Kafel, Trish Cashen and Hazel Gardiner, Bristol/Chicago: intellect, 2007, 43-54
  • 2006 ‘Exile and the Politics of Patronage’ (together with Andrew Chandler and Katarzyna Stoklosa), Exile and Patronage. Cross-Cultural Negotiations Beyond the Third Reich, ed. Andrew Chandler, Katarzyna Stoklosa and Jutta Vinzent, LIT Verlag: Münster et al., 2006 (Mittel- und Ostmitteleuropastudien, 3), 7-19
  • 2006 ‘Weit mehr als nur ein märkischer Dichter’, Edlef Köppen. Aufzeichungen. Ein Lesebuch, selected and edited by Jutta Vinzent, Wilhelmshorst: Märkischer Verlag, 2006, 162-182, 247-249 (endnotes) and ‘Lebenschronik’ (including ‘Nachwirken’), Edlef Köppen. Aufzeichungen. Ein Lesebuch, selected and edited by Jutta Vinzent, Wilhelmshorst: Märkischer Verlag, 2006, 239-244
  • 2006 ‘Christianity and Art’, World Christianities, 1914-2000, ed. Hugh McLeod, Cambridge: Cambridge University Press, 2006 (The Cambridge History of Christianity, 9), 599-607
  • 2005 ‘"Auto"-text und Kon-text: Konzeptionelle Überlegungen zu Michel Foucault im Blick auf Exilkünstler’, Exilforschung. Ein internationales Jahrbuch, ed. Claus-Dieter Krohn et al., Munich: edition text + kritik im Richard Boorberg Verlag, 2005 (vol. 23: Autobiografie und wissenschaftliche Biografik), 179-194 
  • 2005 'Muteness as Utterance of a Forced Reality – Jack Bilbo’s Modern Art Gallery (1941-1948)’, The Yearbook of the Research Centre for German and Austrian Exile Studies, ed. Shulamith Behr/Marian Malet, Amsterdam/Atlanta: Editions Rodopi 2005 (vol. 6: Arts in Exile in Britain 1933-1945. Politics and Cultural Identity), 301-337
  • 2005 ‘Prints by Refugee Artists’ (Review of Rosamunde Neugebauer, Zeichnen im Exil – Zeichen des Exils? Handzeichnung und Druckgraphik deutschsprachiger Emigranten ab 1933, Kromsdorf/Weimar: VDG Verlag 2003, Schriften der Guernica-Gesellschaft, 14), Print Quarterly, 3 (2005), 344-346
  • 2004 entries in New Dictionary of National Biography, ed. H. C. G. Matthew, Oxford: Oxford University Press, 2004: Jankel Adler, Martin Bloch, Ludwig Meidner, Fred Uhlman
  • 2003 ‘Aesthetics of Internment Art in Britain during the Second World War’,Ästhetiken des Exils, ed. Helga Schreckenberger, Amsterdam/New York: Editions Rodopi, 2003, 71-92
  • 2001 ‘Ars Memoriae und das Exil’, Theologen im Exil - Theologie des Exils, ed. Wolf-Friedrich Schäufele/Markus Vinzent, Mandelbachtal/Cambridge: edition cicero, 2001, 211-217

Curating exhibitions (see also under teaching)

2016 (initiated, conceptualised and co-curated) ‘Performing Bodies. Raum und Zeit bei Meister Eckhart und in Videoinstallationen von Taery Kim’ / Performing Bodies. Space and Time in Meister Eckhart and Video Installations of Taery Kim, exhibition, Galerie Waidspeicher (Michaelisstr. 10, 99084 Erfurt, Germany, http://www.galerie-waidspeicher.de/home/), 23 Jan.-13 March 2016 and as ‘Time, Unbinding. Taery Kim – solo exhibition’, Ilmin Centennial Memorial Museum and Centennial Memorial Samsung Hall, Korea University, Seoul, South Korea, 7 July to 21 Aug. 2016

This exhibition was part of the impact activity of the AHRC project on ‘Meister Eckhart and the Parisian University in the early fourtheenth century’ (Kings College, London, 2013-6)

Press coverage of the show in Germany:

  • N.N., ‘Raum und Zeit. Performancekünstlerin hinterfragt Meister Eckhart’, Amtsblatt der Landeshauptstadt Erfurt, 15 Jan. 2016, p. 14; Birgit Kummer, ‘Meister Eckhart als Segen für die Stadt’, Thüringer Landeszeitung, 23 Jan. 2016; N. N., ‘Passage finden und gewinnen’, Thüringer Landeszeitung, 19 Feb. Jan. 2016; N. N., ‘Die Entdeckung einer wertvollen Handschrift’, Amtsblatt der Landeshauptstadt Erfurt, 26. Feb. 2016, p. 14
  • Radio Frei (series: Auf die Ohren! – fortnightly magazine of a local broadcast, report with an interview about the exhibition on 4 March 2016)

Visitors to the exhibition in Erfurt: 820 (compared with the exhibition just before nearly double; and with others rather at the high end, with 950 visiting the group show 25 Jahre Verband Bildender Künstler, 25 Oct.-6 Dec 2015 being the highest); 150 at the exhibition opening (about 3 times more than the average)

The visitors could take part in a manuscript reading exercise; 85 did so, of which 40 participants came to the prize giving on 6 March 2016

Press coverage of the show in Seoul: short report and interview with Taery Kim on SBS CNBC, one of the larger TV news channels in Korea (in the programme News Prism: Culture Field), aired on 6 July 2016 (17.30-18.30 pm)

2008-09 Principal curator of an internationally shown exhibition (together with the curators of the University Collections, University of Birmingham, the management team of the EU project ‘Overcoming Dictatorships’ and two of my PG students) entitled ‘Overcoming Dictatorships’, Aston Webb Building, University of Birmingham, Birmingham (8 Oct.-9 Nov. 2008). The exhibition travelled to the Gallery U Frycza Andrzej Frycz Modrzewski, Kraków University College (KSW), Cracow (24 Nov – 14 Dec. 2008), The National Museum of Contemporary Art at the “Ion Creanga” National Theatre, Bucharest (5 Jan.-18 Jan. 2009) and the Town Hall City of Dresden, Dresden (06 Apr.-26 Apr. 2009). A pre-show with selected works was held at the gallery of the Open Archives Society, Budapest (12-14 October 2007).

2005 Initiation and principal management of the student-led exhibition ‘Art and Migration. Art Works by Refugee Artists from Nazi Germany in Britain’, The Barber Institute of Fine Arts, The University of Birmingham, 11 – 15July 2005

Impact:

  1. The exhibition was shown on the occasion of the 50thanniversary of George Bell at The Otter Gallery (University of Chichester) (http://www.chiuni.ac.uk/ottergallery) from 31 May to 29 June 2008 and formed the nucleus of Forced Journeys at the Ben Uri Gallery in London  (http://www.benuri.org.uk/), 20 Jan. to 19 April 2009, an exhibition which travelled to the Sayle Gallery, Villa Marina Colonade, Douglas (Isle of Man), 9 April to 23 May 2010 and the Williamson Art Gallery&Museum, Birkenhead, 16 June to 25 July 2010.
  2. Organising an exhibition together with students proved the instigation of students’ deep learning and the attraction of a wider audience than those interested in research only. The exhibition with catalogue led the department hold a PG exhibition at the Barber Institute of Fine Arts with publication every year from 2006 to 2009 (each of the exhibition was overseen by a member of staff on a rota). The exhibition led to the university accrediting a new module (called Exhibition Module), designed by me and taught together with the Barber Institute of Fine Arts with the innovative assignment consisting of an exhibition with exhibition programme (workshops and lunchtime lectures) shown at the Barber Institute of Fine Arts in June and July each year (since 2009/2010). The exhibitions, held at a university gallery, also fit into the Impact agenda of funding bodies, as they train PG students in the light of potential future professional researchers (for a list of the exhibitions, see above). The module resulted in the design of an MA programme incorporating an annual student exhibition as well as placements. Curating has become a flagship of the department; a lectureship was advertised in 2015 and the name of the department changed, now incorporating curating (Department of Art History, Curating and Visual Studies).    

reviews of the exhibition (selection):

  • Dave Freak, ‘Art and Migration on Show’, Evening Mail, 12 July 2005, 16; Emily Retter, ‘The Art that Frightened Hitler’, Sutton Coldfield Observer, 8 July 2005, 44; David Vincent, ‘Art and Migration’, Metro, 11 July 2005, 23.

1999, 17-19/11   Principal curator of an exhibition accompanying the international colloquium ‘Theologen im Exil – Theologie des Exils?’ (‘Theologians in Exile – Theology of Exile?’), Mainz (17-19 November 1999)

Review of the exhibition:

  • Patrik von zur Mühlen (in: Archiv für Sozialgeschichte, ed. Friedrich-Ebert-Stiftung/Institut für Sozialgeschichte, Bonn: J. H. W. Dietz, Sept. 2002, http://library.fes.de/fulltext/afs/htmrez/80413.htm, appendix ) recommends the publication of the material assembled for the exhibition: ‘Die Veranstaltung (…) war verbunden mit einer biografisch konzipierten Ausstellung über Theologen beider Konfessionen, die während der NS-Herrschaft ihre Heimat hatten verlassen müssen. Die Ausstellung war gegliedert 1. nach Personen, 2. nach Schwerpunkten (Rahmenbedingungen, Gruppen und Institutionen) und 3. nach Folgen des theologischen Exils (Konversion, Ökumene, Aktivitäten, Rückwirkungen). Diese von Jutta Vinzent zusammengestellte Dokumentation fand leider keine Aufnahme in dem Sammelband (…). Es wäre wünschenswert, dieses biografisch wertvolle Material nicht nur zu archivieren, sondern auch zu publizieren und es damit der weiteren Forschung zugänglich zu machen.’