Dr Jutta Vinzent MA, DrPhil, PhD, PGCert

Photograph of Dr Jutta Vinzent

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

Contact details

Address
The Barber Institute of Fine Arts
University of Birmingham
Edgbaston
Birmingham
B15 2TT
UK

Jutta Vinzent specializes in modern and contemporary art. She focuses on issues of migration and mobility with a particular emphasis on art and curatorial practices in historical perspective to challenge fixed notions of art. She has published on the curating of modern art (The London Gallery, The Modern Art Gallery, both London), global migration (of ‘degenerate’ artists), Constructivism (Gabo, Moore, Hepworth), performance art (Abramović, Kim) and photography (Ajamu, Levine, Beecroft). Recently, Vinzent has become intrigued by qualitative and quantitative network theories and methods and how they can offer new avenues to explain the relationship between art and society and to illustrate the mobility of art.

Qualifications

  • PhD in History of Art (University of Cambridge, UK)
  • Dr Phil in German Literature (University of Cologne, Germany)
  • MA in German Literature with History of Art and Philosophy (University of Munich, Germany)
  • PG Cert. in Teaching in Higher Education (University of Birmingham)

Teaching

With over 20 years of teaching experience in art history on all levels and at a number of institutions including the UK, Germany and South Korea my teaching expertise is well-established and recognised at international level. The experience of having taught at a South-Asian university in particular, provided me with a global outlook and understanding of cultural diversity at HE level regarding student learning, assessment strategies and teaching management. This has increasingly become relevant at a time, when the internationality of studentship and staff has become normality, as it provides a grounding for a better understanding and therefore an opportunity to communicate more successfully with those we consider to be different from us. In this way, the topics of my modules, which relate to my research expertise in migration, postcolonial theories and decolonising politics, are not an empty vessel, but inform my practice and vice versa.

Undergraduate level

(modules designed by Vinzent are underlined)

  • Year 1: Modernism (2008-2012), contributions on modern and contemporary art to a variety of modules offered by the Department
  • Year 2: Exhibitions That Changed Art History (new in 2020-21), Inside the Gallery, Landmarks of Western Visual Cultures, 1930s to the present (2001-2007); Research Techniques; Study Trip to Berlin (2001-2003; and again from 2020-21)
  • Final year: Displaced: Art and Migration (since 2019), Postcolonial Readings of Contemporary Art (since 2005)

Postgraduate level

MA programme design

  • Jutta Vinzent initiated and designed the MA Art History and Curating programme in 2013 following the design and teaching of undergraduate and postgraduate modules on curating offered since 2001. After her return from a fully funded Research Fellowship at the Max Weber Center for Advanced Social and Cultural Studies, University of Erfurt (Germany) in 2018, she has taught the modules Placement (2018-) and Curatorial Practices (2018-2019). 

Modules

  • Critical Approaches (2001-2011)
  • Research Training (2009-2012, 2019-)
  • Placement: Art History in the Field (2018-), offering the opportunity to work for 11 weeks in major galleries and museums in the West Midlands (including BMAG, Ikon, RBSA, Eastside Gallery, Wolverhampton, New Art Gallery Walsall, The Herbert Art Gallery and Museum, Coventry)
  • Curating Research (2010-2012) renamed Curatorial Practices (2015-) This module involves the curating of an exhibition. The following were held at the Barber Institute of Fine Arts, Birmingham (since 2012 in collaboration with other collections, first with the National Portrait Gallery, London and then with the Royal Collections, Windsor):
  • 2010, 10 June-1 Aug.  Print Power
    2011, 27 May-29 Aug. Tennis Memorabilia (with loans from a private collection)
    2012, 25 May-27 Aug. Facing the Music. Twentieth-Century Portraits of British Composers
    For further information and annual exhibitions since 2012, see the Barber Institute of Fine Art website.
  • The overwhelming positive response to the module ‘Curating Research’ led to the design and introduction of the highly successful and oversubscribed MA programme ‘Art History and Curating’ with its key modules of ‘Curatorial Practices’ and ‘Placement’. Students now also have the opportunity to curate an exhibition at Grand Union, Digbeth or at the Barber Institute of Fine Arts.

The overwhelming positive response to the module ‘Curating Research’ led to the design and introduction of the highly successful and oversubscribed MA programme ‘Art History and Curating’ introduced in 2014 with its key modules of ‘Curatorial Practices’ and ‘Placement’. Students now also have the opportunity to curate an exhibition at Grand Union, Digbeth or at the Barber Institute of Fine Arts

In 2015, the Department was renamed to ‘Art History, Curating and Visual Studies’ to take account of curatorial studies that had become a central strand for the entire department.

In 2015/16 (winter semester) Vinzent applied parts of this MA programme to the Master programme Sammlungsbezogene Wissens- und Kulturgeschichte (Knowledge and Cultural History through Collections), University of Erfurt, Germany (see the programme) by initiating, designing and co-conducting a curatorial placement. 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,) 

Visit the Waidspeicher Gallery website

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:

  • 2009 - Building 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 welcome proposals for MA dissertations, MRes and doctoral theses on modern and contemporary art (preferred areas include any aspect of mobility and migration related to Germany, Britain and their colonies, curating in historical perspective in Germany, Britain or post-1989 Europe, conceptions of space and urbanism in avant-garde art, Holocaust/Jewish art, and networks). My former students have been able to be appointed to positions in galleries (Tate Britain, London and Kettle’s Yard, Cambridge) and universities (Jaber University, Kuwait, the University of Leicester,and the University of Cambridge and the University of Birmingham).

Successful completion

PhD

  • 2018 Amy Shulman, Picture Post and the photo essay: Émigré photographers and visual narratives 1938-1945 (PhD, Haywood Scholarship 2011-13)
  • 2017 Imogen Wiltshire, Therapeutic art concepts and practices in Britain and the United States (1937-1946) (PhD, AHRC-funded)
  • 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/MRes

  • 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)

Find out more - our PhD History of Art  page has information about doctoral research at the University of Birmingham.


Find out more - our PhD History of Art  page has information about doctoral research at the University of Birmingham.

Research

II am currently working on two projects:

  • Networks of modern art in twentieth-century Britain: A project which investigates modern art through a study of its display in and circulation through commercial art galleries in London, which were responsible for the introduction of modern art to a British public. It will not only help understand galleries and modern art in Britain better, a topic only covered until the beginning of the twentieth century so far, but also clarify the relevance of continental émigrés, who seemingly were heavily involved in this process.
  • “Degenerate” German Artists in the British Colonies: Planned as a monograph, it will take the approach of Entangled History, which focuses on the interconnectivity and multi-directionality of history. It will argue that entanglement seems to be an approach which is particularly suited to study those who migrated from Nazi Germany into the colonies and protectorates of the British Empire due to the politico-social complexity with which the refugees were faced. This monograph also aims to contribute to the decolonising of the field of Exile Studies by considering not only the global routes of the émigrés, but also the art practices and exhibition histories in light of colonisation.

External Research Grants and Awards Received

 

Resonante Weltbeziehungen in sozio-religösen Praktiken in Antike und Gegenwart - 08/2017—07/2027

Funding body: German Research Foundation (DFG)
My role: Faculty Member
Visit the website for description project description

Was ist westlich am Westen? - 02/2018—01/2021

Funding body: Freistaat Thüringen
Funding amount: € 440,000
My role: Co-Investigator
Visit the website for description project description

Overcoming Dictatorships -11/2006—05/2009

 

Funding body: European Union (scheme ‘Culture 2000’)
Funding amount: € 520,000
My role: Co-Investigator
Project description: 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.

Outputs: Two publications (Jutta Vinzent, Overcoming Dictatorships, Leipzig 2008; Present Tensions, ed. Kristina Kaiserová and Gert Röhrborn, Budapest and N. Y. 2009 and 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), curated by Jutta Vinzent

Development of Technology-Enhanced Learning in the Department of History of Art- 09/2005 - 08/2007
Funding body: University of Birmingham 
Funding amount: £41,000
My role: Principal Investigator
Project description: 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.

Editorial board

Research fellowships and invited professorship

  • 2019, 1 Feb. (– ongoing) Guest at the research centre Einstein Center, Berlin (see https://www.ec-chronoi.de/Fellows) (with a project on concepts of present time and Performance Art)
  • 03/2019-03/2020: Research Fellow 
    Place: Max Weber Center for Advanced Social and Cultural Studies, University of Erfurt, Germany
    Funding body: Federal Ministry of Education and Research (Germany)  Project: Dynamik ritueller Praktiken im Judentum (https://www.uni-erfurt.de/max-weber-kolleg/forschungsgruppen-und-stellen/djr/)
  • 09/2015-08/2018: Research Fellow 
    Place: Freie Universität (Berlin)
    Funding body: German Research Foundation (DFG)
    Project: Topoi (https://www.topoi.org/area/b/)
  • 01/2013-08/2018: Research Fellow 
    Place: Max Weber Center for Advanced Social and Cultural Studies, University of Erfurt, Germany
    Funding body: German Research Foundation (DFG)
    Project: Religious Individualisation in Historical Perspective
  • 01/2012-03/2012: Research Fellow 
    Place: Max Weber Center for Advanced Social and Cultural Studies, University of Erfurt, Germany
    Funding body: German Research Foundation (DFG)
    Project: Religious Individualisation in Historical Perspective
  •  2010-15: Adjunct Professor
    Place: Korea University, Seoul, South Korea (part of Universitas 21, the leading global network of research universities)
    Funding body: Korea University

Reviewing research applications and publications

  • Reviewer for Third Text
  • 2010-14 Academic member of the AHRC's Peer Review College
  • 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

Other activities

Membership of Professional Bodies

  • The International Art Market Studies Association (TIAMSA)
  • Meister-Eckhart-Gesellschaft
  • AAH (Association of Art Historians in Britain) - Since 2019 member of the association’s HE Committee and since 2020 member of the association’s Conference Committee 
  • Research Centre for German and Austrian Exile Studies, University of London
  • Centre for German-Jewish Studies, University of Sussex
  • Gesellschaft für Exilforschung e.V. (German Society for Exile Studies)
  • St. John’s College, Cambridge

External examination

(PhD examinations as External Examiner are highlighted)

  • 2019 Katya Micallef, Understanding Contemporary Visual Art in Malta from 1989 to 2018: A Curator’s Perspective (PhD, Kingston University, London)
  • 2012-2016 External examiner for the BA History of Art programmes 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

  • Panel Member of the School Promotion Panel for Senior Lecturer (2018-)
  • Member of the Advisory group for the School Workload Allocation Model (2010-11)
  • School Leaning Resources Representative (2008-10)

Departmental level

  • Director of PGT Studies including PGT Admissions (2018-); PG Officer (Autumn term 2007/8)
  • Officer for Employability, Internships and Placements (2018-);  Director for Placements and Internships (2011-13)
  • REF Reading Group (2019-)
  • Learning Resources Representative (2001-13; 2019-20)
  • UG and PG Examinations Officer (2004-11)
  • Director of Education (2004-11)
  • Web Design Co-Ordinator (2001-8)
  • Welfare Officer and SSCC Lead (2001-4)
  • Acting Head of Department (Autumn term 2006-7)

Administration at the University of Erfurt, Germany

Max Weber Center for Advanced Cultural and Social Studies

  • Gleichgestelltenbeauftragte (Officer for Equal Oopportunities) (2015-18)
  • Appointment committees for Professorships, Fellows, Post-doc positions and PhD studentships (2015-18)

Publications

Copies (proof stage) of my publications can be found on academia.edu

Authored books

  • 6    2020 Jutta Vinzent, From Space in Modern Art to a Spatial Art History. Reassessing Constructivism through the Publication Circle (1937), Berlin/Boston: De Gruyter, 2020.
  • 5    2008 Jutta Vinzent, Overcoming Dictatorships. Contemporary East and West European Visual Inquiries, Leipzig: Kerber, 2008, 96 pp with 30 plates
  • 4    2008 Jennifer Powell and Jutta Vinzent, 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)
  • 3    2006 Jutta Vinzent, 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 illustrations
  • 2    2005 Jutta Vinzent 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 
  • 1    1997 Jutta Vinzent, 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

 Edited books

  • 4    2017 Sebastian Dorsch and Jutta Vinzent (eds.), SpatioTemporalities on the Line. Representations – Practices – Dynamics, Berlin/Boston: De Gruyter, 2017, 249 pp and 46 illustrations.
  • 3   2016 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), 278 pp and 32 plates 
  • 2   2006 Andrew Chandler, Katarzyna Stokłosa and Jutta Vinzent (eds.), Exile and Patronage. Cross-Cultural Negotiations Beyond the Third Reich, LIT Verlag: Münster et al., 2006 (Mittel- und Ostmitteleuropastudien, 3), 212 pp with illustrations
  • 1    2006 Jutta Vinzent (ed.), Edlef Köppen. Aufzeichnungen. Ein Lesebuch, Wilhelmshorst: Märkischer Verlag, 2006, 254 pp

Articles in refereed journals

  • 10  Jutta Vinzent, ‘Motility and Mobility. What if you cannot migrate? Gross Breesen’s institutional preparation for migrating from Nazi Germany’, Amsterdamer Beiträge zur neueren Germanistik, 91, in press
  • 9   2020  Jutta Vinzent, ‘The Making of Modern Art through Commercial Art Galleries in 1930s London: The London Gallery (1936 to 1950)’, Visual Culture in Britain, 21.2 (2020), 1-33 
  • 8   2020  Jutta Vinzent, ‘The British Internment of Refugees from Nazi Germany in Kenya during WWII’, Yearbook of the Research Centre for German and Austrian Exile Studies, 20 (2020), 159-182 
  • 7   2019 Jutta Vinzent, ‘Destabilising Sexed and Ethnic Subjectivity. Reading Queer Photography in Light of Judith Butler’, Augen-Blick. Konstanzer Hefte zur Medienwissenschaft, 1 (2019), 91-103
  • 6    2010 Jutta Vinzent, ‘In Search of Hybridity: Inculturation, Interculturation and Transculturation in Contemporary Religious Art in Britain’, Exchange. A Journal of Missiological and Ecumenical Research, 1 (2010), 29-48
  • 5    2007 Jutta Vinzent, ‘Exilpresse digital in Support of Researching Visual Material: Images in Die Zeitung’Yearbook of the Research Centre for German and Austrian Exile Studies, 9 (2007), 79-93
  • 4    2007 Jutta Vinzent, ‘Learning Resources for Teaching History of Art in Higher Education’, CHArt (Computers and the History of Art), 2 (2007), 43-54
  • 3    2005 Jutta Vinzent, ‘"Auto"-text und Kon-text: Konzeptionelle Überlegungen zu Michel Foucault im Blick auf Exilkünstler’, Exilforschung. Ein internationales Jahrbuch, 23 (2005), 179-194 
  • 2    2005 Jutta Vinzent, 'Muteness as Utterance of a Forced Reality – Jack Bilbo’s Modern Art Gallery (1941-1948)’, Yearbook of the Research Centre for German and Austrian Exile Studies, 6 (2005), 301-337     
  • 1    2003 Jutta Vinzent, ‘Aesthetics of Internment Art in Britain during the Second World War’, Amsterdamer Beiträge zur neueren Germanistik, 54 (2003), 71-92    

Book chapters, contributions to exhibition catalogues and an online publication

  • 16  2019 Jutta Vinzent, ‘Challenging Personhood. The Subject and Viewer of Contemporary Crucifixion Iconography’, in: Antje Linkenbach and Martin Mulsow (eds.), Religious Individualization in Historical Perspective, Berlin et al.: De Gruyter, 2019, vol. II, 603-624
  • 15  2019 Jutta Vinzent with Christine Dureau, Esther Eidinow, Harry Maier and Aditya Malik, ‘Afterword: Porosity, Corporeality and the Divine’, Antje Linkenbach and Martin Mulsow (eds.), Religious Individualization in Historical Perspective, Berlin et al.: De Gruyter, 2019, vol. II, 625-631
  • 14  2017 Jutta Vinzent in Conversation with Tim Ingold, ‘From Lines as Geometrical Form to Lines as Meshwork Rather than Network’, in: Sebastian Dorsch and Jutta Vinzent (eds.), SpatioTemporalities on the Line. Representations – Practices – Dynamics, Berlin/Boston: De Gruyter, 2017, 13-19
  • 13  2016 Jutta Vinzent, ‘Space and Form in String Sculptures: Naum Gabo, Barbara Hepworth and Henry Moore’, in: Hans Aurenhammer and Regine Prange (eds.), Das Problem der Form. Interferenzen zwischen moderner Kunst und Kunstwissenschaft, Berlin: Gebrüder Mann Verlag, 2016 (Neue Frankfurter Forschungen zur Kunst, 18), 355-381
  • 12  2016 Jutta Vinzent, ‘Austria in Die Zeitung: The Instrumentalisation of Émigré Newspapers during WWII and the Subversive Power of Cartoons’, in: Mark Stocker and Phillip G. Lindley (eds), Tributes to Jean Michel Massing. Towards a Global Art History, London: Harvey Miller, 2016, 323-343
  • 11  2016 Jutta Vinzent, ‘Space, Time and Body in Performance Art and Meister Eckhart,’ in: 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
  • 10  2015 Jutta Vinzent, ‘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 available in link above.
  • 9  2012 Jutta Vinzent, ‘Challenging the abstract in late 1930s Britain’, in: Jordana Mendelson (ed.), Encounters with the 1930s, exhibition catalogue, Museo Nacional Centro de Arte Reina Sofía, Madrid, 3 Oct. 2012-7 Jan. 2013, 140-147
  • 8    2012 Jutta Vinzent, ‘El desafío al arte abstracto. El Reino Unido a finales de los años treinta’, in: Jordana Mendelson (ed.), Encuentros con los años treinta, 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)
  • 7    2011 Jutta Vinzent, ‘Emigrantennetzwerke in Großbritannien zwischen international und national definierter Kunst’, in: Burcu Dogramaci (ed.), Netzwerke des Exils, Berlin: Gebrüder Mann Verlag, 2011, 185-200
  • 6    2009 Jutta Vinzent, ‘The other of the other. Refugee artists and black subjects’, in: Sarah MacDougall and Rachel Dickson (eds.), Forced Journeys. Artists in Exile in Britain, c. 1933-45, exhibition catalogue, Ben Uri Gallery, London, 2009, 80-85 and 94-95
  • 5    2006 Jutta Vinzent, ‘Exile and the Politics of Patronage’ (together with Andrew Chandler and Katarzyna Stoklosa), in: Andrew Chandler, Katarzyna Stoklosa and Jutta Vinzent (eds.), Exile and Patronage. Cross-Cultural Negotiations Beyond the Third Reich, LIT Verlag: Münster et al., 2006 (Mittel- und Ostmitteleuropastudien, 3), 7-19
  • 4    2006 Jutta Vinzent, ‘Weit mehr als nur ein märkischer Dichter’, in: Jutta Vinzent (ed.), Edlef Köppen. Aufzeichungen. Ein Lesebuch, Wilhelmshorst: Märkischer Verlag, 2006, 162-182, 247-249 (endnotes)
  • 3    2006 Jutta Vinzent, ‘Lebenschronik’ (including ‘Nachwirken’), in: Jutta Vinzent (ed.), Edlef Köppen. Aufzeichungen. Ein Lesebuch, Wilhelmshorst: Märkischer Verlag, 2006, 239-244   
  • 2    2001 Jutta Vinzent, ‘Ars Memoriae und das Exil’, in: Wolf-Friedrich Schäufele/Markus Vinzent (eds.), Theologen im Exil - Theologie des Exils, Mandelbachtal/Cambridge: edition cicero, 2001, 211-217 
  • 1    1995 Jutta Vinzent, ‘Exiled Artists: Their Impact on British Art’, in: David Coke (ed.), Hans Feibusch. The Heat of Vision, exhibition catalogue (Pallant House Gallery, Chichester), London: Lund Humphries, 1995, 10-15

Further publications (including reviews, abstracts and dictionary entries)

Peer-reviewed journals are highlighted

  • 19  2016 Jutta Vinzent, review of ‘Performing Bodies. Raum und Zeit bei Meister Eckhart und in Performances und Video Installationen von Taery Kim, Vernissage am 23. Januar 2016 in der Galerie Waidspeicher in Erfurt’, Nachrichten. Max-Weber-Kolleg, 17 (Winter 2016/17), 50
  • 18  2016 Jutta Vinzent, review of ‘Conception, Materiality and Reception of Meister Eckhart’s Views of Space and Time, 9th international Workshop der Erfurter RaumZeit-Gruppe in Cooperation mit dem Max Weber Kolleg und dem King’s College London vom 25. bis 26. January 2016 in Erfurt’, Nachrichten. Max-Weber-Kolleg, 17 (Winter 2016/17), 51f.
  • 17  2015 Jutta Vinzent, review of ‘SpatioTemporalities on the Line. 8. Workshop on Linien. RaumZeitliche Perspektiven of the Erfurter RaumZeit-Gruppe in co-operation with the Max-Weber-Kolleg on 18 and 19 June 2015’, Nachrichten. Max-Weber-Kolleg,16 (Winter 2015/16), 67f.
  • 16  2015 Jutta Vinzent, review of ‘Precarious Spaces – Precarious Times. Commercial Exhibition Cultures in Times of Conflict’, Nachrichten. Max-Weber-Kolleg, 16 (Winter 2015/16), 25
  • 15  2014 Jutta Vinzent and Sebastian Dorsch, review of ‘RaumZeitlichkeiten ästhetischer Formen. 7. Workshop der Erfurter RaumZeit-Forschung (ERZ) am 23. Juni 2014 in Kooperation mit dem Max-Weber-Kolleg’, Nachrichten. Max-Weber-Kolleg, 15 (Winter 2014/15), 58f.
  • 14  2013 Jutta Vinzent, ‘Aesthetic Concepts of Space in 1930s Britain’, Nachrichten. Max-Weber-Kolleg, 14, Winter 2013/14, 12f., also published in: Riccarda Suitner (ed.), First Results of the Second Funding Period of the Research Group Religious Individualization in Historical Perspective‘ (2013-2015). A Reader, Max Weber Center, Erfurt, 2016, 90f.
  • 13  2012 Jutta Vinzent, ‘Abschlussbericht’, Nachrichten. Max-Weber-Kolleg, 13 (Winter 2012/13), 22
  • 12  2010 Jutta Vinzent, ‘East and West German Prints’, Print Quarterly, 3 (2010), 456f.
  • 11  2006 Jutta Vinzent, ‘Christianity and Art’, in: Hugh McLeod (ed.), World Christianities, 1914-2000, Cambridge: Cambridge University Press, 2006 (The Cambridge History of Christianity, 9), 599-607
  • 10  2005 Jutta Vinzent, ‘History of Art beyond its national boundaries’, session abstract for Art & Art History: Contents. Discontents. Malcontents, 32nd annual conference of the AAH (Association of Art Historians, Britain), University of Leeds, 5-8 April 2006, Bulletin of the Association of Art Historians, June 2005, 31f.
  • 9  2005 Jutta Vinzent, ‘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
  • 8    2004 Jutta Vinzent, entries in: H. C. G. Matthew (ed.), New Dictionary of National Biography, Oxford: Oxford University Press, 2004: Jankel Adler, Martin Bloch, Ludwig Meidner, Fred Uhlman
  • 7    2004 Jutta Vinzent, ‘Ficino, Marsilio’, in: Markus Vinzent (ed.), Theologen, Stuttgart/Weimar: J.B. Metzler, 2004, 108f.  (= reprint of ‘Ficino, Marsilio’, Markus Vinzent (ed.), Metzler Lexikon Christlicher Denker, Stuttgart/Weimar: J.B. Metzler, 2000, 250f.)
  • 6    2003 Jutta Vinzent, ‘Georgia O’Keeffe’, in: Hans Dieter Betz et al. (eds.), Religion in Geschichte und Gegenwart, Tübingen: J.C.B. Mohr (Paul Siebeck), 1998- (2003), vol. 6, 498
  • 5    2001 Jutta Vinzent, ‘German art as objects of patronage and collecting, 1871 onwards’, in: Hugh Brigstocke (ed.), The Oxford Companion to Western Art, Oxford: Oxford University Press, 2001, 283
  • 4    2000 Jutta Vinzent, entries in: Hans Dieter Betz et al. (eds.), Religion in Geschichte und Gegenwart, Tübingen: J.C.B. Mohr (Paul Siebeck), 1998- (2000), vol. 3: Paul Gauguin, Eric Gill, Vincent van Gogh
  • 3    1999 Jutta Vinzent, ‘“Selling Ideas” – Propaganda, Krieg, Exil (Großbritannien, speziell London)’, Kunst und Politik. Jahrbuch der Guernica-Gesellschaft, 1 (1999), 127-130
  • 2    1999 Jutta Vinzent, entries in: Hans Dieter Betz et al. (eds.), Religion in Geschichte und Gegenwart, Tübingen: J.C.B. Mohr (Paul Siebeck), 1998- (1999), vol. 2: Lukas Cranach d.Ä., Abstrakter Expressionismus, Albrecht Dürer, Sir Jacob Epstein
  • 1    1995 Jutta Vinzent, ‘Felixmüller’ (review of Shulamith Behr, Conrad Felixmüller (1897-1977). Works on Paper, exhibition catalogue, London, Courtauld Institute Galleries, 1994), Print Quarterly, 2 (1995), 185-187

Publications outside Academia

I am also intrigued in what ways art and literature can be used as complimentary therapies to deal with traumatic experiences, often resulting from migration, exile, war, but also other experiences, such as a cancer. While the effects of producing art have been studied (amongst others, by Imogen Wiltshire, a former PhD student, who looked into the impact of emigration from Nazism on art therapy), I am interested to which extent exhibitions and the viewing of art can support the healing process. As argued by practitioners (Diehm, Michaud, Sehouli, 2019), literature therapy includes both writing and reading. The latter is an activity that allows for an increase on knowledge but also offers a possibility to identify with similar experiences. Parallel to literature, I am therefore interested to which extent the viewing of art can assist in breaking the silence, identify with others both through the image but also through a communicative experience when viewed together with others. For example, the viewing of paintings about death can prompt reflection on the topic in palliative care (according to Jen Ridding, Barber Institute of Fine Arts, Birmingham, 2018). A gallery may also provide an aesthetic experience against a state of mental and bodily pain, while, on the other hand, certain art works hung in a clinical setting of hospital rooms may provide more than only distraction. Here O’Doherty’s classic ideas about the white cube of modern art museums receive a different interpretation and purpose.

To this extent, I have edited together with Jalid Sehouli, a specialist for cancer, a book of literary writings by cancer patients (Bauchgefühle, 2019) and publish regularly essays in magazines for patients (Die zweite Stimme, Ärztemagazin zwei). I have also taken part in the production of a documentary for a charity organisation (German Ovarian Cancer Foundation) and a pharmaceutical company (Molecular Health); and support the activities of the German Ovarian Cancer Foundation. So far, these activities have been undertaken with the Charité Berlin, Europe’s largest university hospital.

  • 2020 Jutta Vinzent with daughter Charlotte, Raising awareness for cancer and the advantages of Molecular Health a company dedicated to advance the diagnosis of cancer), a documentary film produced by Bavaria Film, Germany, duration: 2 min (English) and 4 min. (German):
  • 2019  Jutta Vinzent, ‘Das Buch zum Eierstockkrebs – eine ganz andere Therapie’, Die zweite Stimme, 2 (2019), 34-35
  • 2019 Jalid Sehouli, Jutta Vinzent (eds.), Bauchgefühle. Leben aus Leidenschaft. Die besondere Anthologie, Berlin: Bebra Verlag, 2019
  • 2019  Jalid Sehouli, Jutta Vinzent (in conversation with Jan Rübel), ‘Es gibt kein Scheitern in der Medizin’ (There is no failure in medicine), Ärztemagazin zwei, 19 (2019), 12-17
  • 2018  Jutta Vinzent, ‘Und was sagt die Jury’, Die zweite Stimme, 1 (2018), 14
  • 2016  Jutta Vinzent, ‘Von Liminalitäten und Passagen’, Die zweite Stimme, 2 (2016), 20-23

Curating (see also under teaching)

Title: Performing Bodies. Space and Time in Meister Eckhart and Video Installations of Taery Kim (Performing Bodies. Raum und Zeit bei Meister Eckhart und in Videoinstallationen von Taery Kim)
Time and venues: Galerie Waidspeicher, Erfurt (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
My role: Initiated, conceptualised and co-curated the exhibition
This exhibition was part of the impact activity of the project ‘Meister Eckhart and the Parisian University in the early fourteenth century’ funded by the AHRC (2013-6)

Title: Overcoming Dictatorships
Time and venues: Aston Webb Building, University of Birmingham (8 Oct.-9 Nov. 2008). The exhibition travelled to the Gallery U Frycza Andrzej Frycz Modrzewski, Kraków University College (24 Nov.-14 Dec. 2008), The National Museum of Contemporary, 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)
My role: principal curator

Title: Art and Migration. Art Works by Refugee Artists from Nazi Germany in Britain
Time and venue: The Barber Institute of Fine Arts, Birmingham (11-15 July 2005)
My role: Initiation and principal management of the student-led exhibition

Impact:

1. The exhibition was shown on the occasion of the 50th anniversary of George Bell at The Otter Gallery (University of Chichester) (from 31 May to 29 June 2008 and formed the nucleus of Forced Journeys at the Ben Uri Gallery in London, 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 experience. In the end, it led to an MA programme incorporating student exhibitions as well as placements. Curating has become a flagship of the department; in 2015 it was granted a lectureship with focus on curating and changed its name, now incorporating curating (Department of Art History, Curating and Visual Studies).

 

Title: Theologen im Exil – Theologie des Exils?
Time and venue:University of Mainz (17-19 Nov. 1999); accompanying the international conference ‘Theologen im Exil – Theologie des Exils?’ (‘Theologians in Exile – Theology of Exile?’)
My role: Principal curator

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