Dr. Brett M. Van Hoesen
Brett Van Hoesen joined the faculty at UNR in 2007. She holds a Ph.D. in Art History from the University of Iowa and a M.A. from the University of Massachusetts, Amherst. She received her B.A. in Art with a minor in Dance from the University of Iowa. Prior to joining the faculty at UNR, Dr. Van Hoesen served as the Visiting Instructor for Modern and Contemporary Art History at the University of Missouri, Columbia. She has also held museum internships at the University of Iowa Museum of Art, the Walters Art Museum in Baltimore, The Busch-Reisinger Museum and The Fogg Art Museum at Harvard University.
Dr. Van Hoesen’s research areas include Contemporary European and American Art, Visual Culture of the Weimar Republic, German Colonial History and its Legacy, Dada (Berlin and Zürich), Photomontage, Hannah Höch, László Moholy-Nagy, Max Pechstein, Popular Press Documentary Photography (Berliner Illustrirte Zeitung and Der Querschnitt), African Art, 19th Century French Art, Museum Studies, and aspects of contemporary Digital Culture Studies.
She has received funding for her research from the Ford Foundation, German Academic Exchange Service (DAAD), Junior Faculty Research Grant Program (UNR), Scholarly and Creative Activities Grant Program (UNR), and the Scholar in Residence Program at the Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art.
“From Pop Icon to Postmodern Kitsch: Michael Jackson and Contemporary Art.” In Michael Jackson: Grasping the Spectacle, edited by Christopher Smit. Farnham, Surrey, England; Burlington, VT: Ashgate, forthcoming 2012.
“Visualizing the Enemy: Weimar Postcolonial Politics and the Rhineland Controversy.” In German Cultures of Colonialism: Race, Nation and Globalization, 1884-1945, co-edited by Geoff Eley and Bradley D. Naranch. Durham, N.C.: Duke University Press, forthcoming 2012.
“Sound Art - New Only in Name: A Selected History of German Sound Works from the Last Century,” (co-authored with Jean-Paul Perrotte). In Germany in the Loud Twentieth Century, co-edited by Florence Feiereisen and Alexandra Merley Hill. Oxford: Oxford University Press, forthcoming 2012.
“Who Knows Tomorrow: Berlin and Beyond.” (exhibition review) Nka – journal for Contemporary African Art (Duke University Press journal), forthcoming July 2011.
“Postcolonial Cosmopolitanism: Constructing the Weimar New Woman out of a Colonial Imaginary”. In The New Woman International: Photographic Representations from the 1870s through the 1960s, co-edited byElizabeth Otto and Vanessa Rocco with introduction by Linda Nochlin,Ann Arbor, MI: University of Michigan Press, 2011.
“Notes from the Frontline.” n.paradoxa (international feminist art journal) 26 (July 2010): 77.
“Re-Visioning Germany's Colonial Past: Tactics of Weimar Photomontage and Documentary Photography.” In German Colonialism, Visual Culture, and Modern Memory, edited by Volker Langbehn. London and New York: Routledge, January 2010. http://www.routledge.com/books/details/9780415997799/
"West of Worcester: Reflections on Grad Night." Capital City Arts Initiative, Carson City, Nevada, June 2009. http://www.arts-initiative.org/essays/grad_night.html
Three essays: "Guerrilla Girls," "November Group," and "Spartacist Uprising." In International Encyclopedia of Revolution and Protest, edited by Immanuel Ness. (7 volumes + index volume). Malden, MA and Oxford, England: Wiley-Blackwell, 2009. http://www.revolutionprotestencyclopedia.com/public/
COURSE DESCRIPTIONS - SPRING 2011
ART 365 Contemporary Art
Course Description: This course covers artists, art movements, and issues ranging from mid-century Europe and America to 21st century global centers. With the assistance of PowerPoint presentations, CONTENTdm, films, music, artists’ writings, exhibitions, art theory and criticism, this course provides an interdisciplinary and international approach to the culture of contemporary art practices. Lectures are presented in conjunction with discussion activities. Student participation is an essential component of this course, as the subject matter of contemporary art requires on-going discussion, re-evaluation, and debate. The final grade is based upon in-class assignments, mid-semester and final examinations as well as a written research project.
ART 493/693 Independent Studies in Art History: Women, Art and Society
Research Guide for Art History Courses (spring 2010), Knowledge Center, UNR
Gender, Race and Identity Program, UNR
Nevada Museum of Art
Capital City Arts Initiative (Carson City, Nevada)
College Art Association
Radical Art Caucus
Historians of German and Central European Art & Architecture
German Studies Association
Modernist Studies Association
University of Nevada, Reno
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