Julie Johnson

JulieAssociate Professor of Art History

Department of Art and Art History

Fine Arts 4.01.24

University of Texas at San Antonio

One UTSA Circle

San Antonio, Texas 78249-0648

(210) 458-7429

Julie.Johnson@utsa.edu

 

Julie Johnson earned her MA at the University of Iowa and her PhD at the University of Chicago, specializing in the art and architecture of Central Europe, with a minor in film. She has held residential fellowships in Vienna from Fulbright, the International Center for Cultural Studies (IFK), NEH (summer teaching institute), and at Cornell University (DAAD summer seminar on gender and sexuality in the German-speaking world). Her teaching addresses the history of art and architecture in Vienna 1900, women artists, spectatorship theory and gender issues, histories of display, and modern and contemporary art. She is the author of The Memory Factory: The Forgotten Women Artists of Vienna 1900 (Purdue University Press, 2012), an essay on parodies and joking in Vienna 1900 in the Oxford Art Journal, and articles on women artists and the display cultures of Vienna 1900 in several anthologies and exhibition catalogues. The most recent of these is on women as portraitists in Facing the Modern: The Portrait in Vienna 1900, edited by Gemma Blackshaw (National Gallery of Art, London October 9, 2013-January 12, 2014). Her next major research project is on the bird’s-eye view and the visual culture of Vienna 1900.

Her recent publication The Memory Factory (http://www.thepress.purdue.edu/titles/format/9781557536136) is the first book in English on women artists in Vienna 1900. Its primary purpose is to tell the stories of the forgotten women artists of its subtitle, and to explain how they came to be left out of the dominant histories of the period. While many women artists have been subject to cycles of rediscovery, these women’s lives were interrupted by the Holocaust, and in several cases their works were destroyed or dispersed. Such erasure has been so thorough that even today there is a mistaken belief that women were not allowed to exhibit their works publicly in Vienna 1900. The book takes a new approach to women artists by focusing on readings of where their works were displayed, including in some of the most famous Gesamtkunstwerk exhibitions of the Secessionists. It documents how women artists took part in the public art world and creative culture of Vienna 1900, not only exhibiting their works in the major shows of the Secession and Kunstschauen but also pioneering alternative exhibitions.

Among the courses she has taught at the undergraduate level are: Contemporary Art, Topics: Nineteenth-Century Art, Cultures of Display, Vienna 1900, Women Artists, and Art Nouveau

At the graduate level she has taught: Vienna 1900; Topics in Contemporary Art: The Artist’s Studio; The Art Museum, Central European Art, Suburbia and Architecture in Contemporary Art and Gender Issues in Art

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