PhotoMatrixProject

Edited Journal Issue

• Fedora Parkmann and Barbora Kundračíková, “Photo: Science: Art History. Mutual Interactions in the Era of a New Universalism”, Umění / Art, vol. 90, 2022, no. 3, pp. 259–264

Articles in Peer-Reviewed Journals

• Fedora Parkmann, “La photogénie entre France et Tchécoslovaquie : un point de convergence lexical et esthétique de la modernité photographique”, Revue des études slaves, vol. 93, 2022, no. 1, pp. 147–163

• Fedora Parkmann, “Asserting Photography’s Social Function: Exhibitions of Soviet Photography in Interwar Czechoslovakia”, History of Photography, vol. 45, 2022, no. 1, pp. 139–161

• Fedora Parkmann, “Un patrimoine visuel sous le communisme. La photographie amateur et sociale du président tchécoslovaque Antonín Zápotocký”, Photographica, September 2020, no. 1, pp. 93–109

• Fedora Parkmann, “Une histoire en deux actes : la photographie sociale tchèque de l’entre-deux-guerres au prisme de l’historiographie de l’ère communiste”, Transbordeur, no. 4, 2020, pp. 50–59

• Fedora Parkmann, “Photographies parisiennes des surréalistes tchèques : des preuves à l’appui d’une mémoire partagée du surréalisme”, Marges, revue d’art contemporain, no. 29, 2019, pp. 84–102

• Fedora Parkmann, “Du photomontage comme trace de la circulation des savoirs artistiques. Le cas de Karel Teige”, Histoire de l’art,  no. 78, 2016, pp. 117–130

• Fedora Parkmann, “Logique circulatoire de la photographie imprimée. Le cas des revues d’avant-garde tchèques”, Artl@s Bulletin, 2015, no. 2, pp. 14–25

• Fedora Parkmann, “Vilem Kriz (1921-1994) : la photographie surréaliste dans l’engrenage du temps”, Revue de la Bibliothèque nationale de France, no. 47, October 2014, pp. 68–77

• Fedora Parkmann, “Un avatar tchécoslovaque de la Fifo : ‘l'Exposition internationale de photographie, Prague, 1936’ / A Czechoslovak Variation on Fifo: The International Photography Exhibition, Prague, 1936”, Études photographiques, no. 29,  May 2012, pp. 43–81

Book Chapters

• Fedora Parkmann, “Paris dans l’objectif des photographes tchécoslovaques de l’entre-deux-guerres”, in: Fanny Drugeon (ed.), Passages à Paris, Paris: Mare & Martin, 2024, pp. 273–281

• Fedora Parkmann, “‘La Tour Eiffel, ou l’histoire d’un cliché’ : une image-fétiche de l’avant-garde entre France et Tchécoslovaquie”, in: Léa Saint-Raymond (ed.), La circulation des images, Paris: Mare & Martin, 2023, pp. 189–202

• Fedora Parkmann, “Paris dans l’objectif des photographes tchécoslovaques de l’entre-deux-guerres”, in: Fanny Drugeon (ed.), Passages à Paris, Paris: Mare & Martin (to be published)

• Fedora Parkmann, “Výstavy sociální fotografie v Praze a Brně: fotografické umění ve službách revoluce – Mezinárodní výstava fotografie v Praze roku 1936: fotografie, umění a život v dialogu”, in: Kateřina Piorecká (ed.), Umění – Gesto - Argument, Prague: Academia (to be published)

Conferences Organized

• Photomechanical Prints and the Material Agency of Images, session within the 36th CIHA – Congress of the Comité International d’Histoire de l’Art, Lyon, 23 – 28 June 2024, co-organizer with Katarína Mašterová and Hana Buddeus

• Art within Reach: Photomechanical Reproductions of Works of Art from Print to Digital, Prague, IAH CAS, 5 – 6 December 2023, co-organizer

• Photo: Science. Photography and Scientific Discourses, Prague, IAH CAS, 30 November – 2 December 2020, co-organizer

• Worker Photography in Museums: History and Politics of a Cultural Heritage in East-Central Europe, Prague, IAH CAS & CEFRES, 26–27 February 2020

Selected Paper Presentations

• “Fotomechanické reprodukce uměleckých děl v digitální perspektivě: možnosti a výzvy”, VIIIth Congress of the Czech Association of Art Historians, Brno, Masaryk University, 12–14 September  2024 (with Viktorie Vítů)

• “The Photomechanical Reproductions of V. Neubert & Sons across Printed Media”, Networks and Visual Seriality in Mass-Market Print Culture, Brussels / Leuven, Bibliothèque Royale de Belgique / KU Leuven, 29 – 30 April 2024 (with Viktorie Vítů)

• “International Exhibitions of Art Photography and the Politics of Peace. A Case Study from Czechoslovakia”, Art Exhibitions in Post-War Europe, Stockholm, Royal Academy of Fine Arts / Moderna Museet, 11–12 May 2022

• “The Geopolitics of Photography Exhibitions. Showcasing Soviet Photographers in Interwar Czechoslovakia”, VIIth Congress of Czech Art Historians, Ústí nad Labem, J. E. Purkyně University, 23–25 September 2021

• “The Entangled Reception of Ukrainian and Soviet Photography in Interwar Czechoslovakia”, Kharkiv Photo Forum, Kharkiv, Academy of Fine Arts and Design, 18–21 August 2020

• “Les albums de famille du président Antonín Zápotocký : mémoire privée, enjeux publics”, Patrimoines photographiques : histoire, ethnologie, émotions, Paris, Musée des Arts décoratifs, 7–8 November 2019

• “Triangular Circulation. Interwar Photograms between France, Germany and Czechoslovakia”, Practices, Circulation and Legacies. Photographic Histories in Central and Eastern Europe, Ljubljana, City Museum of Ljubljana, 8–10 May 2018

• “Psychogéographies parisiennes dans la photographie des surréalistes tchèques”, Paris – haut-lieu urbain, institutionnel et artistique de la photographie, Paris, Centre allemand d’histoire de l’art, 3–7 July 2017

• “Aspects internationaux de la photographie sociale en Tchécoslovaquie”, L’internationale de la photographie sociale, Paris, Institut national d’histoire de l’art, 3 March 2017

• “An Example of Interwar Czech-Russian Cultural Transfer. The Czech Worker Photography Movement”, East Central Europe in the First Half of the 20th Century – Transnational Perspectives, Leipzig, Geisteswissenschaftliches Zentrum Geschichte und Kultur Ostmitteleuropas, 14–16 January 2016

Fellowships and Research Stays

• Junior Fellow, Traveling Research Seminars Linking Art Worlds: American Art and Eastern Europe from the Cold War to the Present, led by Beáta Hock, funded by Getty Institute/Terra Foundation, Prague, Budapest, Berlin, New York, Paris, 2022–2024

• Research stay, Centre for French-Russian Studies, Moscow, 2019

• Research Fellowship in Art History, Centre Pompidou, Paris, 2014

• Louis Rœderer Research Fellowship in History of Photography, National Library of France, Paris, 2012

Courses Taught

• Instructor at Charles University in Prague, Lecture: History of Social Documentary Photography, 2022

• Instructor at Université de Lorraine, Nancy, Lecture: Avant-Garde Art: A Transnational Perspective (1905–1945), 2021

• Instructor at Université catholique de l’Ouest, Angers, Lecture & Workshop:  History of Modern Art (1905–1945), 2018

• Lecturer at Department of Art History, Sorbonne Université, Paris, Lectures & Workshops: History of Modern and Contemporary Art; History of Museums, 2017–2018 (fulltime lecturer)

• Instructor at Université catholique de l’Ouest, Angers, Lecture & Workshop: The Nineteenth Century Image, 2016

Articles in Peer-Reviewed Journals

• Camilla Balbi, "Lothar Brieger’s Das Frauengesicht der Gegenwart (1930): a twofold perspective on women’s photography in the Weimar Republic", Piano B Arti e Culture Visive, Vol. 8, no. 1 (2023), pp. 1-23

• Camilla Balbi and Marcello Sessa, “A Missed Abstraction? Carl Einstein And Clement Greenberg Reread Kandinsky”, CoSMO. Comparative studies in modernism, Vol. 2023, no. 22 (2023), pp. 147-158

• Camilla Balbi and Anna Calise, “The (Theoretical) Elephant in the Room. Overlooked Iconological Assumptions in Computer Vision Analysis of Art Images”, Signata. Annales des sémiotiques, n. 14 / For a New Hermeneutics of Symbolic Forms: Semiotics, Art History and Digital Humanities, 2023 article no. 4757.

• Camilla Balbi and Yasmin Riyahi, “Queering the Townhouse: l’Archivio Fotografico di Casa Susanna” [Queering the Townhouse: The Photographic Archive of Casa Susanna], Arabeschi, no. 21, 2023

• Camilla Balbi, "Dis/placed Modernism. Ellen Auerbach and Marianne Breslauer’s Palestine", Elephant & Castle. Laboratorio dell'Immaginario, Vol. 2023, no. 30 (2023), pp. 173-182

• Camilla Balbi, “Shifting Paradigms — Mexico in Color: Ellen Auerbach’s Exile Photography”, Itinera, 2022, no. 23, pp. 115–130

• Camilla Balbi and Federico Cantoni, “L’inferno del confine: fantasmi e visioni in Carne y Arena ” [The Hell Of The Border: Ghosts and Visions in Carne y Arena], Orillas, 2022, no. 11, pp. 337–350

• Camilla Balbi, “Il museo come teoria: appunti per una lettura critica del Landesmuseum di Hannover” [The Museum as Theory. Notes for a critical reading of the Hannover’s Landesmuseum], Cultura tedesca / Deutsche Kultur, 2022, no. 63, pp.181–201 

• Camilla Balbi, “Fake or Fortune? Alexander Dorner and the Weimar Reproduction Debate”, Venezia Arti, vol. 30, 2021, pp. 87–95 

• Camilla Balbi, “Jenny Holzer’s 2020: New York, Activism, and Collective Mourning. Again”, VCS, Visual Culture Studies, 2020, no. 2, pp. 245–266

• Camilla Balbi, “Iconoclasm Uninterred. The Jewish Roots of American Abstract Expressionism”, SIEDAS, 2020, no. 1, pp. 39–56

Book Chapters

• Camilla Balbi, "Cronache di un parricidio. Giuliano Briganti e l’„affare de Chirico” sulle pagine della Repubblica", in: Vincenzo Trione (ed.), Armi improprie. Lo stato della critica d'arte in Italia, Milano: Johan & Levi, 2024, pp. 245-248.

• Camilla Balbi, "Il Mondo, la strega e il Fumoir, Eugenio Battisti (1954-1963)", in: Vincenzo Trione (ed.), Armi improprie. Lo stato della critica d'arte in Italia, Milano: Johan & Levi, 2024, pp. 168-171.

• Camilla Balbi, “‘Das ist der Teufel sicherlich!’, Erwin Panofsky e la fotografia” [‘Das ist der Teufel sicherlich!’, Erwin Panofsky on Photography], in: Andrea Chiurato (ed.), Transmedialità e Crossmedialità, Nuove Prospettive, Milano: Mimesis, 2023, pp. 99–121

• Camilla Balbi and Anna Luigia De Simone, “Umberto Eco Biografia Critica” [Umberto Eco Critical Biography], in: Vincenzo Trione (ed.), Umberto Eco sull’arte, Milano: La Nave di Teseo, 2022, pp. 51–75

• Camilla Balbi, “‘Wahr Spricht, Wer Schatten Spricht’. Ricordare l’olocausto dei bambini, due analisi semiotiche” [‘Wahr Spricht, Wer Schatten Spricht’. The Memory Of Children In The Holocaust, Two Semiotic Analysies], in: Gianluca Attademo, Carmela Bianco, Pasquale Giustiniani and Francesco Lucrezi(eds.), Sotto il segno della razza, Milano: Mimesis, 2021, pp. 47–57

Conferences Organized

• Art within Reach. Photomechanical Reproductions of Works of Art from Print to Digital, Academic Conference Center, Prague, 5–6 December 2023, co-organizer within PhotoMatrix team

• Improper Weapons. The State of Art Criticism in Italy, Milano, IULM University, 27–28 April 2023, co-organizer

• Visual, Media and New Technological Forms, Graduate Students Colloquium, Milano, IULM University, 13 December 2022, co-organizer

• Transmediality and Crossmediality New Perspectives, Graduate Students Colloquium, Milano, IULM University, 1–2 December 2021, co-organizer

Selected Paper Presentations

• "The Emancipatory Power of Reproductions: Neglected Narratives of Avant-Garde Photography" (with Hana Buddeus), Liberation, 56th ASEEES Annual Convention, Boston, 17–18 October 2024.

• "‘An Alternate Double Sense’: Eugenio Battisti, Psicon, and Iconology in the Italian Red Decade", Liberation, 56th ASEEES Annual Convention, Boston, 17–18 October 2024

• "Finding Röntgen: Medical X-Ray Photographs in Avant-Garde Journals, a Transnational Journey", Periodicals: S.T.E.A.M. Ahead!, XII International Conference European Society for Periodical Research (ESPRit), Urbino, 11–13 September 2024

• "A neue Shehen? Germaine Krull and Trude Fleischmann Aktfotografie", Genere e Storia Oltre i Confini, IX Congresso della Società Italiana delle Storiche, Palermo, 19–22 June 2024

• "From the Margins: Jewish Women Photographers in, and after, Weimar", Multiple Frames for Lucia Moholy: Contextualizing Photography, Gender, and Place in the 20th Century, Prague, 30 May 2024

• "Rachel Wischnitzer and the Photomechanical Foundations of Jewish Art History", Art within Reach. Photomechanical Reproductions of Works of Art from Print to Digital, Prague, Academic Conference Center, 5–6 December 2023

• "Renaissance in exile. Il tempo instabile del Rinascimento nel pensiero di Erwin Panofsky", The Notion of Renaissance, Between History and Myth. Origins, Transformations, New-Perspectives, Roma, 24–27 May 2023

• "Painting in Motion. Erwin Panofsky and Rhythm in German Culture around 1920", Annual Modern German Graduate Symposium /20./ Movement and Moment, Oxford, 5 May 2023.

• “Mexico in Color: Ellen Auerbach’s Exile Photography”, Research Forum for German Visual Culture (RFGVC) Seminar Series, Edinburgh, University of Edinburgh, 14 February 2023

• “Zukunftsräume Today. Approaching Experimental Avant-Garde Design Through Virtual Reality”, Visual, Media and New Forms of Technology, Milano, IULM University, 13 December 2022 

• “Computer Vision and Art Theory: The (Forgotten) Premises of Iconology in Today’s Visual Field”, ICPT2022 International Conference of Photography and Theory, Nicosia, IAPT, 17–19 November 2022

• “An Archive of One’s Own – Performing Identity in Photography”, FAScinA 2022 (Yearly Conference of Female Scholars in Film and Audiovisual Studies), Sassari, University of Sassari, 13–15 October 2022 

• “The End of the Renaissance. Old Chronologies and New Identities in the Thought of Erwin Panofsky”, German Studies Association (GSA) International Conference on Emigration and Immigration, Houston (TX), 14–18 September 2022 

• “A Missed Abstraction? Carl Einstein and Clement Greenberg Reread Kandinsky”, 1922/2022 – Total Modernism: Continuity, Discontinuity, and the Experimental Turn, Torino, Centre for Comparative Modernisms, 18–20 May 2022

• “The Pink Triangle, Iconology of a Century-Long Holocaust”, Identity and Diversity. Between Discrimination of Rights and Persecution of Lives, Holocaust Memorial Day, Napoli, University of Naples Federico II, 27 January 2022

• “Papageno And Monostatos. Erwin Panofsky On New Media”, Graduate Students Colloquium, Deutsche Haus, New York (NY), New York University, 6 December 2021

• “‘Das ist der Teufel sicherlich!’ Erwin Panofsky e la fotografia”, Transmediality and Crossmediality New Perspectives, Milano, IULM University, 1–2 December 2021

• “The Hell of the Border: Ghosts and Visions in Flesh Y Arena”, Transitions of Memory. Narratives of Violence in the 20th and 21th Centuries, Carpi, Centro Studi Fossoli, 16 October 2021

• “When Photography Met Museum, Erwin Panofsky and the Faksimile Streit”, Photo: Science, Photography and Scientific Discourses, Prague, Institute of Art History, Czech Academy of Sciences, 2 December 2020

• “‘Wahr Spricht, Wer Schatten Spricht’. The Memory of Childern in the Holocaust, Two Semiotic Analysis”, Holocaust Memorial Day, Napoli, University of Naples Federico II, 27 January 2020

• “Iconoclasm Uninterred. The Jewish Roots of American Abstract Expressionism”, Study Center for Italian Judaism, Jerusalem, Ytzak Navon Museum, 23 February 2017

Invited Lectures

• “A Forgotten Media Interest: Erwin Panofsky and Photography", Collegium Historiae Artium lecture series, Institute of Art History of the Czech Academy of Sciences, Prague, 28 February 2024.

Research Stays and Fellowships

• Accademia Belgica / Villa Medici, Rome, Italy, Winter School: L’œuvre augmentée – entre passé et futur, January 15–19, 2024

• The Robert Gore Rifkind Center for German Expressionist Studies, LACMA, Los Angeles County Museum of Art, 2022

• The Getty Research Institute, Special Collections, Los Angeles CA, 2022

• Department of German Studies, College of Arts and Science, New York University (hosted by Christopher Wood), 2022

• Harvard Art Museum Archives, Cambridge MA, 2018

Prizes

• W+IGS (Women in German Studies) 2024 Essay Prize, a runner-up prize for the article “Photomechanical Nachleben and the Queer Art of Failure. The Aktfotografie of Germaine Krull and Trude Fleischmann”

Courses Taught

• University of New York Prague, School of International Relations and Media Studies, lecturer in Visual Culture and Semiotics, 2024–2025

• IULM University in Milan, Lectures: History of Contemporary Art; Arts and Media; Visual Cultures, 2019–2022

Books

• Hana Buddeus, Zobrazení bez reprodukce? Fotografie a performance v českém umění sedmdesátých let 20. století [Representation without Reproduction? Photography and Performance in Czech Art of the 1970], Prague: UMPRUM, 2017

​​Edited Volumes

• Hana Buddeus – Anežka Bartlová (eds.), Infrastruktury (dějin) umění, Prague: Artefactum, 2022

• Hana Buddeus (ed.), Sudek and Sculpture, Prague: Artefactum & Karolinum, 2020

• Hana Buddeus – Katarína Mašterová – Vojtěch Lahoda (eds.), Instant Presence. Representing Art in Photography, Prague: Artefactum, 2017

• Hana Buddeus – Mariana Dufková – Johanka Lomová – Václav Janoščík (eds.), KDUE/VŠUP 2008–2011, Prague: UMPRUM, 2011

• Hana Buddeus – Mariana Dufková – Johanka Lomová – Václav Janoščík (eds.), Dějiny umění v rozšířeném poli, Prague: UMPRUM, 2011

Articles in Peer-Reviewed Journals

• Hana Buddeus, “Josef Sudek: Collecting Art through Photographing for Friends”, Digital Revue (forthcoming in 2024).

• Hana Buddeus, “Photography: The Lingua Franca of Performance Art”, Art Margins Online, [Special Issue “Regional Resonances: In Search of the Transnational in Central East European Art of the 1970s” edited by: Zsuzsa László]. Available online at https://artmargins.com/photography-the-lingua- franca-of-performance-art/. Published on March 14, 2024.

• Hana Buddeus, “Enlarged Details and Close-up Views. Art Reproduction in 1930s Czechoslovakia”, Artium Quaestiones, vol. 33, 2022, pp. 61–86

• Hana Buddeus, “Storing and/or Sharing: the Negative in the Commercial Work of Josef Sudek”, Umění / Art, vol. 66, 2018, no. 5, pp. 388–399

• Hana Buddeus, “Infiltrating the Art World through Photography. Petr Štembera’s 1970s Networks”, Third Text, Special Issue “Actually Existing Artworlds of Socialism”. Guest Editor: Reuben Fowkes, vol. 32, 2018, no. 153, pp. 468–484

• Hana Buddeus, “Fotografické podmínky happeningu”, Sešit pro umění, teorii a příbuzné zóny, 2014, no. 16, pp. 18–37

Book Chapters

• Hana Buddeus,"V. V. Štech a fotografie", in: Milena Bartlová (ed.), Historik a teoretik umění V. V. Štech, Praha: UMPRUM (forthcoming in 2025).

• Hana Buddeus – Mariana Kubištová, „Sedící dívka. Umění v bytě“, in: Kateřina Piorecká - Marie Brunová - Lukáš Holeček - Martin Lukáš (eds.), Gesto a skutečnost (Umění v meziválečném Československu, vol. 1. Obyčejný život), Praha: Academia 2024, pp. 423-432.

• Hana Buddeus, “Za kulturní dějiny fotografie”, introduction to: Lucia Moholy, Sto let fotografie, Prague: Kunstalle Praha 2024, pp. 5-17.

• Hana Buddeus, “Longing for the Unknown: Lucia Moholy’s Prague Origins / Stesk po nepoznaném: Pražské kořeny Lucie Moholy”, in: Jordan Troeller (ed.), Lucia Moholy: Exposures, Prague: Kunsthalle Praha / Hatje Kantz 2024, pp. 72-89.

• Hana Buddeus, “Sudeks Gärten im Sozialismus”, in:  Frédéric Bussmann – Philipp Freytag (eds.), Zwischen Avantgarde und Repression. Tschechische Fotografie 1948–1968, Dresden: Sandstein Verlag, 2022, pp. 96–105

• Hana Buddeus, “Infiltrating the Art World Through Photography. Petr Štembera’s 1970s Networks”, in: Daniel Grúň (ed.), Subjective Histories. Self-historicisation as Artistic Practice in Central-East Europe, Bratislava: VEDA, 2020, pp. 81–98

• Hana Buddeus, “Černobílí muži s paletou?”, in: Petr Jindra – Radim Vondráček (eds.), Tvůrce jako předmět dějin umění. Pozice autora po jeho „smrti“, Prague: Artefactum, 2020, pp. 215–221

• Hana Buddeus, “The Life of Sculptures: Ways of Photographic Recontextualization”, in: Hana Buddeus (ed.), Sudek and Sculpture, Prague: Artefactum & Karolinum, 2020, pp. 69–151

• Hana Buddeus, “Vanished Statues: Finding Images, Creating Pictures”, in: Hana Buddeus (ed.), Sudek and Sculpture, Prague: Artefactum & Karolinum, 2020, pp. 153–233

• Hana Buddeus, “The Photographic Conditions of the Happening”, in: Milena Bartlová et al., The Sešit Reader. The First Ten Years of Notebook for Art, Theory and Related Zones 2007–2017, Prague: AVU, 2020, pp. 228–245

• Hana Buddeus, “Mlsný a zvědavý V. V. Štech: dějiny umění jako živá současnost”, in: Tomáš Dvořák a kol., Fotografie, socha, objekt, Prague: NAMU, 2018, pp. 7–29

• Hana Buddeus, “Braun, Brokof, Sudek et al.: Czech Baroque Sculpture in the Light of Modernist Photography”, in: Hana Buddeus – Katarína Mašterová – Vojtěch Lahoda (eds.), Instant Presence. Representing Art in Photography, Prague: Artefactum, 2017, pp. 177–195

• Hana Buddeus, “3 Poznámky k funkci dokumentace v době normalizace”, in: Jan Krtička – Jan Prošek (eds.): Dokumentace umění, Ústí nad Labem: Fakulta umění a designu Univerzity Jana Evangelisty Purkyně v Ústí nad Labem, 2013, pp. 67–79

Book Reviews

• Hana Buddeus – Johana Lomová (review), “Slovenské cesty k sorele” (Alexandra Kusá, Prerušená pieseň. Výtvarné umenie v časoch stalinskej kultúrnej praxe. 1948–1956, Bratislava 2019 – Bohunka Koklesová, Súmrak doby. Prelamovaná história, pamäť, fotografia, Bratislava 2018), Sešit pro umění, teorii a příbuzné zóny, 2020, no. 29, pp. 148–157

• Hana Buddeus (review), Klara Kemp-Welch, Networking the Bloc. Experimental Art in Eastern Europe, 1965–1981, Cambridge, MA: The MIT Press 2018, Umění / Art, vol. 68, 2020, no. 1, pp. 106–109

• Hana Buddeus (review), Tomáš Pospiszyl (ed.), Vladimír Ambroz. Akce / Actions, Prague: 2017, Umění / Art, vol. LXVI, 2018, no. 5, pp. 440–442

Conferences and Workshops Organized

• 7th Congress of Art Historians, Faculty of Art and Design of Jan Evangelista Purkyně University in Ústí nad Labem, 23–24 September 2021, co-organizer with Johana Lomová and others 

• Photo: Science. Photography and Scientific Discourses, Institute of Art History, Czech Academy of Sciences, Prague, 30 November – 2 December 2020, co-organizer with Barbora Kundračíková, Petra Trnková, Fedora Parkmann and Katarína Mašterová

• Fotografujeme sochy, Workshop within Sudek Project, Prague City Gallery, Prague, 3 September 2020, co-organizer with Katarína Mašterová

• Negativ – pozitiv – newprint!, Workshop within Sudek Project, Prague City Gallery,  Prague, 12 June 2018, co-organizer with Katarína Mašterová

• Instant Presence: Representing Art in Photography. An International Symposium in Honor of Josef Sudek, Institute of Art History, Czech Academy of Sciences, Prague, 1–2 December 2016, co-organizer with Katarína Mašterová and Vojtěch Lahoda

• Documenting the Present, Fotograf Festival Discussion forum, National Gallery in Prague, 2 October 2015

• The Mirror Stage, Fotograf Festival Discussion forum, National Gallery in Prague, 3 October 2014

• Descriptive Systems, Fotograf Festival Discussion forum, Prague, 19 October 2013

• Mezi východem a západem. Jak se v poválečném Československu psalo o výtvarném umění, UMPRUM, Prague, 27–28 November 2012, co-organizer with Johana Lomová and others

Selected Paper Presentations 

• “Beautiful, Exquisite Gift. Calendars by DP (1931-1944)”, Art History As a Gift, Berlin, 7–9 November 2024

• “The Emancipatory Power of Reproductions: Neglected Narratives of Avant-garde Photography” (with Camilla Balbi), ASEEES Virtual Convention, Boston, USA / Online, 17–18 October 2024

• “Photomechanical Prints and the Material Agency of Images” (session, with Katarína Mašterová and Fedora Parkmann), 36th congress CIHA, Lyon, 23–28 June 2024

• “A Direct Communicator of Information In and Out. Petr Štembera in the 1970s” (with Pavlína Morganová), Resonances (2.). Beyond Friendships. Regional Cultural Transfer in the Art of the 1970s, Central European Research Institute for Art History (KEMKI) – Artpool Art Research Center, Budapest, 11–12 May 2022

• “Photography. The Lingua Franca of Performance Art?”, Resonances (1.). Non-Conformist Art under Socialism in Central Eastern Europe and its Transnational Network. Parallel Structures, Communicating Channels and Nodes, Comenius University in Bratislava / Online, 2 March 2022

• “Josef Sudek. Collecting Art through Photographing for Friends”, Photography and Art Market 1880–1939, University of Florence / Online, 14–16 October 2021

• “Židle, stoly, stojany, květiny. Výstavy na fotografiích Josefa Sudka”, Prostor výstav (1820–1950). Výstava jako prostor, médium a fenomén, Institute of Art History, Czech Academy of Sciences, Prague, 20– 21 October 2021

• “Kopie, rozmnoženiny, odlitky, tisky”, Infrastruktury (dějin) umění, VII. sjezd historiků a historiček umění v Ústí nad Labem, 23–25 September 2021

• “Fotografická re/produkce a kánon českých dějin umění”, Kánon. Konference k teorii dějin umění, Prague, 20–21 January 2020

• “Černobílí muži s paletou?”, 6th Congress of Art Historians, Prague, 20–21 September 2018

• “Between Fragile Materiality and Mass Reproducibility: The Negative in the Professional Work of Josef Sudek”, Practices, Circulation and Legacies. Photographic Histories in Central and Eastern Europe, The City Museum of Ljubljana, Ljubljana, 8–10 May 2018

• “What Did Sudek See in Rodin? Inner Voice Captured on the Surface”, Rodin: l’onde de choc II, Museé Rodin, Paris,  9–10 November 2017

• “Braun, Brokoff, Sudek and Co.: Czech Baroque Sculpture in the Light of Modern Photography”, Instant Presence: Representing Art in Photography: An International Symposium in Honor of Josef Sudek, Institute of Art History, Czech Academy of Sciences, Prague, 1–2 December 2016

• “Mlsný a zvědavý V. V. Štech: Dějiny umění jako živá současnost”, Fotografie & Socha: 1. výroční konference katedry fotografie FAMU, FAMU, Prague, 11 November 2016

• “From an Open Hand to a Closed Fist: Petr Štembera’s Artist Networks”, Contested Spheres: Actually Existing Artworlds under Socialism, Kassak Museum, Budapest,  27–28 May 2016

• “Fotografické podmínky happeningu”, Mezi tvorbou a výrobou. Proměny umělecké práce, Academy of Fine Arts in Prague, 21–22 May 2013

• “Několik poznámek k funkci dokumentace v době normalizace”, Dokumentace umění, Faculty of Art and Design of Jan Evangelista Purkyně University in Ústí nad Labem, Ústí nad Labem, 5 December 2012

• “Photography and Fiction in Czech Action Art”, Photography and the Unrepresentable: A History of Photographic (Mis)Representation, University of Essex, Colchester, 15 May 2012

Selected Exhibitions Curated

• Lucia Sceranková. Heart Seas, Fotograf Gallery, Prague, 16 December 2022 – 11 February 2023

• The Never Ending Egg (with Johana Pošová and Erica Petrillo), Fotograf Gallery, Prague, 1 July – 27 August 2022

• Czechoslovak Astrophotography, Fotograf Gallery, Prague, 11 November 2021 – 29 January 2022

• Lovelies from the Files. Sudek and Slovakia (with Katarína Mašterová), Bratislava City Gallery, 29 October 2021 – 30 January 2022

• Lovelies from the Files. Sudek, Sculpture and Southern Bohemia (with Katarína Mašterová), Museum of Photography and Modern Visual Media in Jindřichův Hradec, 25 June – 19 September 2021

• Lovelies from the Files. Sudek and Sculpture (with Katarína Mašterová), House of Photography, Prague City Gallery, 23 June – 27 September 2020

• Teseract (with Filip Dvořák), Galerie AMU, Prague, 2 December 2015 – 17 January 2016

• Pavel Štecha: Chataři, Galerie UM, UMPRUM, Prague, 18 September – 31 October 2015

• Henryk Gajewski, Galerie AMU, Prague, 9 December 2014 – 25 January 2015

• HIN MAH TOO YAH LAT KEKT (with Aleksandra Vajd, Hynek Alt, Johana Pošová, Tomáš Svoboda and Antonín Jirát), Galerie AMU, Prague, 9 October – 9 November 2014

• Audun Mortensen: Unread Items, Center for Contemporary Art FUTURA, Prague, 9 October – 10 November 2013

Edited Volumes

• Katarína Mašterová (ed.), Svoboda + Palcr: Vidět sochy, Prague: Artefactum, 2019

• Katarína Mašterová (ed.), Josef Sudek: Topografie sutin / The Topography of Ruins, Prague: Artefactum, 2018

• Hana Buddeus – Katarína Mašterová – Vojtěch Lahoda (eds.), Instant Presence. Representing Art in Photography, Prague: Artefactum, 2017

Articles in Peer-Reviewed Journals

• Katarína Mašterová, “Svatý Vít, chrám národa. Nevydaná publikace Josefa Sudka”, Umění / Art, vol. 70, 2022, no. 2, pp. 208–222

Book Chapters

• Katarína Mašterová, "Svatý Vít / Saint Guy: Patnáct fotografií / Quinze photographies. Exkluzivní fotografické album za výrobní cenu" [Saint Vitus. Fifteen Photographs. Exclusive Photo Album available at Production Price], in: Kateřina Piorecká a kol., Gesto a skutečnost. Umění v meziválečném Československu [Gesture and Reality. Art in Interwar Czechoslovakia], Praha: Academia, 2024, s. 208–220

• Katarína Mašterová, “The Archive in Transition: Reframing Josef Sudek’s Photographic Reproductions of Art”, in: Geraldine A. Johnson – Deborah Schultz (eds.), Photo Archives and the Place of Photography, London: Routledge 2025 (in print)

• Katarína Mašterová, “Jan Svoboda – ein Fotograf unter Künstler:innen”, in: Frédéric Bussmann – Philipp Freytag (eds.), Zwischen Avantgarde und Repression. Tschechische Fotografie 1948–1968, Dresden: Sandstein Verlag, 2022, pp. 128–135

• Katarína Mašterová, “Light on Sculpture, Sculpture in Light”, in: Hana Buddeus (ed.), Sudek and Sculpture, Prague: Artefactum & Karolinum, 2020, pp. 235–329

• Katarína Mašterová, “Sudek’s Archival Garden”, in: Hana Buddeus (ed.), Sudek and Sculpture, Prague: Artefactum and Karolinum, 2020, pp. 331–413

• Katarína Mašterová, “Zobrazení. Svobodovy fotografie soch Zdeňka Palcra”, in: Katarína Mašterová (ed.), Svoboda + Palcr: Vidět sochy, Praha: Artefactum, 2019, s. 54–79

• Katarína Mašterová, “Katedrála ve fotografii”, in: Jana Maříková-Kubková et al., Katedrála viditelná a neviditelná. Průvodce tisíciletou historií katedrály sv. Víta, Václava, Vojtěcha a Panny Marie na Pražském hradě, Praha: Hilbertinum – Společnost Kamila Hilberta & Archeologický ústav Akademie věd České republiky, Praha, 2019, pp. 852–862

• Katarína Mašterová, “Paradoxně krásná. Praha v archivech fotografií války / Paradoxically Beautiful. Prague in the Archives of War Photography”, in: Katarína Mašterová (ed.), Josef Sudek: Topografie sutin / The Topography of Ruins, Prague: Artefactum, 2018, pp. 162–176; 204–212

• Katarína Mašterová, “Objev druhé románské stavby na Hradčanech”, in: Katarína Kapustka (ed.), Profil archeologie středověku. Studie věnované Janu Frolíkovi, Praha: Archeologický ústav AV ČR, Praha, v. v. i., 2018, pp. 87–104

• Katarína Mašterová, “Volume, Material and „Something Else“: Sudek as Engaged Observer of a Turning Point in Modern Czech Sculpture”, in: Hana Buddeus – Vojtěch Lahoda – Katarína Mašterová (edd.), Instant Presence. Representing Art in Photography, Prague: Artefactum, 2017, pp. 235–261

• Katarína Mašterová, “Jan Svoboda and Photographs of Works of Art”, in: Rostislav Koryčánek – Jiří Pátek (eds.), Jan Svoboda: I’m not a Photographer, Brno: Moravian Gallery in Brno, 2015, pp. 42–59

• Jana Maříková-Kubková – Katarína Mašterová – Katarína Válová, “Prague Castle”, in: Marina Vicelja-Matijašić (ed.), Swords, Crowns, Censers and Books. Francia Media – Cradles of European Culture, Rijeka: Faculty of Humanities and Social Sciences, University of Rijeka, 2015, pp. 187–212 

• Milena Bravermanová – Katarína Chlustiková – Petr Chotěbor, “Architectural Features of St. George’s Basilica and Convent”, in: Dušan Foltýn – Jan Klípa – Pavlína Mašková – Petr Sommer – Vít Vlnas (eds.), Open the Gates of Paradise: The Benedictines in the Heart of Europe 800–1300, Prague: National Gallery in Prague, 2015, pp. 122–128

• Petr Čech – Katarína Chlustiková, “Frühmittelalterliche Sakralarchitektur in der Siedlungsagglomeration von Saaz/Žatec”, in: Lumír Poláček – Jana Maříková-Kubková (eds.), Frühmittelalterliche Kirchen als archäologische und historische Quelle. Internationale Tagungen in Mikulčice VIII, Spisy Archeologického ústavu AV ČR Brno, Brno: Archeologický ústav AV ČR, Brno, v. v. i., 2010, pp. 275–288

Research Projects Member

• Matrix of Photomechanical Reproductions: Histories of Remote Access to Art (PhotoMatrix Project), supported by the Lumina Quaeruntur Award, Czech Academy of Sciences, 2023–2027, co-investigator

• Umění – Gesto – Argument, Institute of Czech Literature, Czech Academy of Sciences, 2020–2025, collaborator

• Josef Sudek and Photographic Documentation of Works of Art: From a Private Art Archive to Representing a Cultural Heritage (Sudek Project), NAKI II, Ministry of Culture of the Czech Republic, no. DG16P02M002, 2016–2020, co-investigator (2016–2019) and principal investigator (2019–2020)

• Jan Svoboda / Zdeně Palcr: fotografický dialog o soše, Strategie AV21, Forms and Functions of Communication program, Czech Academy of Sciences, 2019, author and coordinator of the project

• Cradles of European Culture, EU Culture 2007–2013, recipient Institute of Archaeology, Czech Academy of Sciences, Prague; main coordinator Public Institute of the Republic of Slovenia for the Protection of Cultural Heritage, 2011–2015, collaborator

Conferences and Workshops Organized

• Photomechanical Prints and the Material Agency of Images, session within the 36th CIHA – Congress of the Comité International d’Histoire de l’Art, Lyon, 23–28 June 2024 (with Fedora Parkmann and Hana Buddeus)

• Art within Reach: Photomechanical Reproductions of Works of Art from Print to Digital, Institute of Art History, Czech Academy of Sciences, Prague, 5–6 December 2023 (co-organizer within the PhotoMatrix Project)

• Photo: Science. Photography and Scientific Discourses, Online & Institute of Art History, Czech Academy of Sciences, 30 November – 2 December 2020, co-organizer with Petra Trnková, Barbora Kundračíková, Hana Buddeus and Fedora Parkmann

• Photographing Sculptures, workshop within Sudek Project, Prague City Gallery, 3 September 2020, co-organizer with Hana Buddeus

• Negativ – Positive – New Print!, workshop within Sudek Project, Prague City Gallery, 22 November 2019, co-organizer with Hana Buddeus

• Reprodukce uměleckých děl a autorská práva, workshop within Sudek Project, Institute of Art History, Czech Academy of Sciences, Prague, 12 June 2017, co-organizer

• Instant Presence: Representing Art in Photography: An International Symposium in Honor of Josef Sudek, Institute of Art History, Czech Academy of Sciences, Prague, 1–2 December 2016,co-organizer with Hana Buddeus and Vojtěch Lahoda

Selected Paper Presentations

• “Exhibitions in Two Dimensions: Pictorial Reports in the Period Press for the General Public”, The 8th Congress of the Czech Art Historians – The Endings (and Beginnings) of Times, Masaryk University, Brno, 12–14 September 2024

• "Vizuální sdělení. Fotografie jako způsob interpretace v reprodukcích časopisu Výtvarné umění"[Visual Message. Photography as a Form of Interpretation in the Reproductions of Výtvarné umění Magazine], conference From Architecture to Interpretation (Media of Architecture II), Department of Art History, Faculty of Arts, Masaryk University & the Methodological Centre of Modern Architecture, Brno, 7–8 June 2024

• “Artists as Influencers? Emil Filla and Josef Wagner, Prominent Figures of Czech Modernism, as Editors of the Art Magazine Volné Směry” (with Viktorie Vítů), Art within Reach: Photomechanical Reproductions of Works of Art from Print to Digital, Academic Conference Center, Czech Academy of Sciences, Prague, 5–6 December 2023

• “Svatý Vít / Saint Guy. Fotografické album Josefa Sudka (1928)” [Saint Guy. Photographic Album by Josef Sudek, 1928], workshop Umění – gesto – argument, Institute of Czech Literature, Czech Academy of Sciences, Prague, 4 November 2022 

• “Kánon fotografie, kánon technologie, kánon umění”, Kánon. Konference k teorii dějin umění, Academy of Art, Architecture and Design, Prague, 20–21 January 2020

• “An Instrument of Examination: Photographic Record as an Archaeological Sample”, Science & Photography Symposium, University of St Andrews Library, Special Collections, St Andrews, Scotland, UK, 23 October 2019

• “The Volume of the Photographer’s Archive: From Quality to Quantity (The Case of Sudek)”, Photography Off the Scale, Department of Photography, Film and TV School of Academy of Performing Arts in Prague, 9–10 November 2019

• “The Archive in Transition: Reframing Josef Sudek’s Photographic Reproductions of Art”, Photo Archives VI: The Place of Photography, University of Oxford, Oxford, 20–21 April 2017

• “Volume, Material and Something “Extra”: Sudek’s Passionate Observation of a Turning Point in Modern Czech Sculpture”, Instant Presence: Representing Art in Photography. An International Symposium in Honor of Josef Sudek, Institute of Art History, CZech Academy of Sciences, 1–2 December 2016 

• “Jan Svoboda: přivlastnění motivu sochařství a modernistická tradice”, Fotografie & socha: 1. výroční konference katedry fotografie FAMU, Department of Photography, Film and TV School of Academy of Performing Arts in Prague, 11 November 2016

Courses Taught

• Academy of Art, Architecture and Design in Prague, course: The History of Applied Photography of the Last 50 Years, from 2023

Selected Exhibitions Curated

• Photographic Conditions of Art History and the Current Photographic Studio at the Institute of Art History, CAS (with Martin Pavlis), Window Gallery of the Institute of Art History of the CAS, Prague, 11 December 2024 – April 2025

• Lovelies from the Files. Sudek and Slovakia (with Hana Buddeus), Bratislava City Gallery, Slovakia, 29 October 2021 – 30 January 2022

• Lovelies from the Files. Sudek, Sculpture, South Bohemia (with Hana Buddeus), Museum of Photography and Modern Visual Media, Jindřichův Hradec, 25 June – 19 September 2021

• Lovelies from the Files. Sudek and Sculpture (with Hana Buddeus), House of Photography, Prague City Gallery, 23 June – 28 September 2020

• Stanislav Kolíbal. London 1969 (with Pavel Vančát), Embassy of the Czech Republic in London, UK, 21 February – 7 June 2020

• Svoboda + Palcr: Seeing Sculptures, Galerie výtvarného umění v Chebu (11 April – 16 June 2019)

• (Non)collections of Photographs (with Petra Trnková, Hana Buddeus and Barbora Kundračíková), Window Gallery, Institute of Art History of the CAS, Prague, 8 November 2018 – 3 March 2019

• Josef Sudek: The Topography of Ruins (with Vojtěch Lahoda and Mariana Kubištová), House of Photography, Prague City Gallery, 22 May – 19 August 2018

• Josef Sudek: The Topography of Ruins. Prague 1945 (with Vojtěch Lahoda and Mariana Kubištová), Stiftung Gerhart-Hauptmann-Haus, Düsseldorf, 25 January – 29 March 2018
  Palazzo Reale Milano, Milano, 5 June– 1 July 2018
  Museo di Roma in Trastevere, Rome, 19 July – 7 October 2018
  Czech Centre Paris, 7 November – 4 December 2018
  Museum of Architecture in Wrocław, Wrocław, 14 March – 5 May 2019

• Josef Sudek: In the Studio (with Vojtěch Lahoda), Galerie Věda a umění, Czech Academy of Sciences, 2 December 2016 – 27 January 2017

• Josef Sudek: In the Dimness of the Cathedral (with Vojtěch Lahoda), Ateliér Josefa Sudka, Prague, 29 June – 30 August 2016

• Mark Dorf: Transposition (with Adéla Kremplová), Festival Fotograf #12: Culture/Nature, Botanical Garden of the Science Faculty of the Charles University in Prague, glasshouse, 2–30 October 2016

• Archaeological Exposition of the Salm Palace, Salm Palace, National Gallery Prague, permanent exhibition, from fall 2014

• contemporary art exhibitions at the non-profit K4 Gallery in Prague (co-founder with Václav Janoščík and Jakub Hauser), 2010–2014

Articles in Peer-Reviewed Journals

• Viktorie Vítů, “Santholzer: vědec a avantgardista mezi krásou stroje a záření”, Umění / Art LXIX, 2021, no. 4, pp. 438–457

Book Reviews

• Viktorie Vítů (review), Tim Satterthwaite (ed.), Modernist Magazines and the Social Ideal. London: Bloomsbury Publishing, 2020, Fotograf, 2020, no. 20

Texts in Daily Press or Popularising Articles

• Viktorie Vítů, Myslet v analogiích (recenze výstavy Heptameron. Surrealismy a sen renesance), Art Antiques 4/2024

• Viktorie Vítů, Skrze stín do světla (recenze výstavy A Shadow), Artalk.cz, 10. 4. 2024

• Viktorie Vítů, Objímá, hledá smír, stále uniká (recenze výstavy Uniklá, našel skrýš, stále uniká), A2 #3/24

• Viktorie Vítů, S pohledem obráceným vzhůru (recenze výstavy Bouře a hvězdy), Artalk.cz, 6. 12. 2023

• Viktorie Vítů, Dobře odvedená práce není vidět. O dnešní realitě (re)produkční práce v kulturních institucích, A2 #12/23

• Viktorie Vítů, recenze výstavy Kořínky míří dolů, rostlinka stoupá vzhůru, A2 #11/23

• Viktorie Vítů, V hlavní roli vítající (recenze výstavy Vítání jara), A2 #06/2023

• Viktorie Vítů, recenze výstavy Julie Hrnčířové To se může jednou hodit…, A2 #3/23

• Viktorie Vítů, Kruhy v mlze (recenze výstavy Ich/Du), Artalk.cz, 9. 11. 2022

• Viktorie Vítů, Spoutáni smyčkami závislostí (recenze výstavy Člověk a zvíře pod jednou střechou), Artalk.cz, 1. 8. 2022

• Viktorie Vítů, S mlékem a dvěma cukry (recenze výstavy Pozdní intimita), Artalk.cz, 12. 7. 2021

Selected Paper Presentations

• "Fotomechanické reprodukce uměleckých děl v digitální perspektivě: Možnosti a výzvy" (with Fedora Parkmann), VIII. Sjezd historiček a historiků umění, 12–14 September 2024

• "Photomechanical Reproductions of Artworks between Art Magazines and Mass-Audience Periodicals. The Case of the Printer and Publisher V. Neubert & Sons" (with Fedora Parkmann), Networks and Visual Seriality in Mass-Market Print Culture, The Royal Library of Belgium & Katholieke Universiteit Leuven, 29–30 April 2024

• "Artists as Influencers? Emil Filla and Josef Wagner, Prominent Figures of Czech Modernism, as Editors of the Art Magazine Volné Směry" (with Katarína Mašterová), Art within Reach: Photomechanical Reproductions of Works of Art from Print to Digital, Institute of Art History of the CAS, Prague, 5–6 December 2023

• "Distant viewing: fotomechanické reprodukce" (with Fedora Parkmann), Humanitní a společenské vědy perspektivou digital humanities, Univerzita Palackého v Olomouci, 9 November 2023

• “Vilém Santholzer, Fotogenie a autenticita vědecké fotografie”, Jiné světy, interdisciplinární konference studentů doktorského studia, Ústav pro dějiny umění FF UK, Ústav dějin umění AV ČR, Prague, 10 June 2022

• “Reception and Production of Art as Costly Signalling”, ISHE (International Society for Human Ethology), Zadar, Croatia, 21–24 August 2019

• “Krása matematiky a stroje – diskurzivní transfer mezi vědou a uměním”, Paragone. Soutěž o cenu Milana Tognera, Ústí nad Labem, Czech Republic, 16–17 May 2019

• “Boudníkovy ilustrace k Fixní ideji”, Paragone. Soutěž o cenu Milana Tognera, Ostrava, Czech Republic, 11–12 May 2017

Public Lectures

• “Vilém Santholzer mezi vědou a avantgardou”, Collegiae Historiae Artium, Institute of Art History of the Czech Academy of Sciences, Prague, 22 February 2023

• “Vilém Santholzer: vědec a avantgardista mezi krásou stroje a záření”, Pondělky ve věži – Klub za starou Prahu, Prague, 21 March 2022

Exhibitions Curated

• Work in Process, Fotograf Gallery, Prague, part of the curatorial team, 27 February – 26 May 2024

• Jiří Toman: “…and the Water Rises”, Fotograf Gallery, Prague, 28 June – 8 September 2023

• A rather morbid air, and it was hard to see how it could convey wishes for a happy future (curatorial coordination), Fotograf Gallery, Prague, 1–16 June 2023

• Anaïs Tondeur, Martin Netočný, Vojtěch Radakulan: Released Atoms, Fotograf Gallery, Prague, 22 February – 11 April 2023

• Mission, Vision, Revision (curatorial cooperation), Galerie UM, Academy of Arts, Architecture and Design in Prague, 17 January – 29 February 2020

Articles in Peer-Reviewed Journals

• Marta Binazzi, “Fotografie e istituzioni museali. Il sistema del lascito della doppia copia e le pratiche di accumulo e raccolta di fotografie: il caso delle Regie Gallerie di Firenze, 1860-1906”, Rivista di studi di fotografia, 10, 2020, pp. 10–35

• Marta Binazzi, “‘La lamentatrice’ di Franco Pinna, dallo scatto alle trasformazioni fotomeccaniche: la biografia sociale di un oggetto fotografico, 1952–2013”, Studi di Memofonte, 11, 2013, pp. 178–197

Book Chapters

• Marta Binazzi, “Biographies of Photographers and Photographic Studios”, in: Maria Antonella Pelizzari and Scott Wilcox (eds.), Photographs of Italy and the British Imagination: 1840–1900, New Haven: Yale Center for British Art, 2022, pp. 241–253

• Marta Binazzi, “Law and Canon. The Law’s Influence on the Photographic Reproduction of Paintings Kept in the Florentine Royal Galleries, 1893–1904”, in: Philippe Kaenel and Kirsty Bell (eds.), La reproduction des images et des textes / Images and Texts Reproduced, Leiden – Boston: Brill Rodopi, 2021, pp. 211–226

Selected Paper Presentations

• “The Production of the Far East Photographic Collection in the Berenson Library”, Ars Asiatica I – Construction des savoirs sur l’art asiatique dans la première Bibliothèque d’art et d’archéologie: les fonds photographiques, Institut national d’histoire de l’art, Paris, France, February 2023

• “Photographic Companies v. the Illustrated Publishing Industry. Rights and Reproductions in the Business of Photographs of Artworks at the turn of the 20th Century”, (Re)producing Photographs, Photographic History Research Centre, De Montfort University, Leicester and Section de cinema, Université de Lausanne, March 2020

• “How the Italian State Used Photography to Document and Multiply Florence’s artworks. The Case of the Palatina Gallery, 1860–1904”, The City as Archive. Histories of Collecting and Archiving in and the Musealisation of Florence, Kunsthistorisches Institut, Florence, September 2018

• “The Italian State Photographer. The Complex Relationship between Copyright Law, Photographs of Artworks and Museum Regulations, 1890s–1900s”, Research Seminars in Cultures of Photography, Photographic History Research Centre, De Montfort University, Leicester, December 2017

• “Canon and Law. The Law’s Influence on the Photographic Reproduction of Artworks in the Uffizi, 1876–1904”, Le reproduction des images et des texts / Images and Texts Reproduced, IAWIS/AIERTI, University of Lausanne, July 2017

• “Riproduzione Interdetta. The Mutual Influence of Photographic Copyright Laws and the Business of Photographs of Artworks in Italy, 1860s–1900s. Metodologie, fonti e ipotesi di lavoro”, Storia della fotografia: La Ricerca Junior in Italia. Primo seminario Nazionale, University of Florence, June 2017

• “The Autotype Company and the Carbon Process Market: 1868–1900”, Research Day of the Photographic History Research Centre, De Montfort University, Leicester, April 2015   

Research Fellowships

• DMU Research Scholarship from the Photographic History Research Centre, De Montfort University, Leicester, 2015–2019

• Travel Bursary, University of Lausanne, 2017

• Roger Taylor Bursary from the Photographic History Research Center, De Montfort University, Leicester, 2014–2015

Exhibitions Curated

• An Archive is an Archive is an Archive (co-curator), online exhibition for Der Grief, uploaded between 9–23 March 2023

Editorial Board

• Rivista di Studi di Fotografia, from 2022

Book Manuscript

Meghan Forbes, Technologies for the Revolution: The Czech Avant-Garde in Print, Prague: Artefactum & Karolinum Press with US distribution by UChicago Press, forthcoming Spring 2025

Books Edited

• Meghan Forbes (ed.), International Perspectives on Publishing Platforms: Image, Object, Text, London: Routledge, 2019

Peer-Reviewed Journal Articles

• Meghan Forbes, “Devětsil and Dada: A Poetics of Play in the Interwar Czech Avant-Garde,” ArtMargins 9:3, Fall 2020, pp. 7-28

• Meghan Forbes, “’To reach over the border’: An International Conversation Between the Bauhaus and Devětsil,” Umění/Art, vol. 64, 2016, no. 3-4, pp. 291-303

Book Contributions

• Meghan Forbes, “Míra Holzbachová: Embodying the Avant-Garde,” in: Oliver Botar, Irina Denischenko, Gábor Dobó, Merse Pál Szeredi (eds.), Pluralities: Dada Techniques in Central and Eastern Europe, Leiden: Brill, 2024, pp. 250-287

• Meghan Forbes, “A Beautiful New World: Reflections of Russian Revolution in Avant-Garde Czech Print,” in: Moritz Baßler, Benedikt Hjartarson, Ursula Frohne (eds.), Realisms of the Avant-Garde: European Avant-Garde and Modernism Studies, Berlin: De Gruyter, 2020, pp. 279-297

• Meghan Forbes, “The Politics of Translation: Textual-Visual Strategies towards Transnational Network Building in the Periodicals of the Czech Interwar Avant-Garde,” in: Stefania Caristia, Laura Fólica, Laura, Laura Roig-Sanz (eds.), Literary Translation in Periodical Publications. Theoretical Problems and Methodological Challenges for a Transnational Approach, Amsterdam: John Benjamins Publishing Company, 2020, pp. 361-380

• Meghan Forbes, “Decentering the Bauhaus: Documenting the Mutual Exchange between the Czech Avant-Garde and the Bauhaus School in Germany,” in: Simona Bérešová, Klára Prešnajderová, Sonia de Puineuf (eds.), School as a Laboratory of Modern Life, Bratislava: Slovak Center of Design, 2020, pp 158-177

Catalogue Contributions

• Meghan Forbes, “A Guidebook to Paris and its Environs,” in: Anna Pravdová, Annie Le Brun, Annabelle Görgen-Lammers (eds.), Toyen: The Dreaming Rebel, Prague: National Gallery, 2021

  (Published in conjunction with an exhibition of the same title, organized and presented at the Waldstein Riding School of the National Gallery, Prague, April 9-August 15, 2021; Hamburger Kunsthalle, Hamburg, September 24, 2021-February 13, 2022; and Musée d’Art Moderne, Paris, March 25-July 24, 2022.)

• Meghan Forbes, “Władysław Strzemiński’s Theory of Vision,” in: Karolina Ziebinska Lewandowska and Jaroslaw Suchan (eds.), Une avant-garde polonaise: Katarzyna Kobro et Wladislaw Strzeminski, Paris: Skira, 2018

  (Published in conjunction with an exhibition of the same title, organized and presented at the Centre Pompidou, Paris, Oct. 24, 2018-Jan. 14, 2019.)

Articles in Peer-Reviewed Journals

• Mariana Kubištová – Lucie Zadražilová, “Mezi krásnými věcmi: Několik poznámek k činnosti Karla Heraina”, Muzeum: muzejní a vlastivědná práce, vol. 51, 2013, no. 1, pp. 54–61

• Mariana Kubištová, “Fascinován průmyslem. Fotografické práce Vladimíra Hipmana z třicátých až padesátých let 20. století”, Umění / Art, vol. 60, 2012, no. 5, pp. 384–400

Books

• Mariana Kubištová – Lucie Vlčková, A Hundred Years of Czech Design, Prague – Tokyo 2019

• Mariana Kubištová, Poetická geometrie: Moderní architektura ve fotografiích Josefa Sudka, Prague: Museum of Decorative Arts in Prague – KANT, 2018

Selected Book Chapters

• Mariana Kubištová, “Dvě století městského mobiliáře a venkovního nábytku”, in: Iva Knobloch (ed.), Posaďte se: Od městského mobiliáře k odpočivnému nábytku v expozicích, Prague: Museum of Decorative Arts in Prague, 2022, pp. 8–55

• Mariana Kubištová, “Na pomezí řemesla a umění: Snímky Josefa Sudka pro firmu Baťa / Between Craft nad Art: Josef Sudek’s Photographs for the Baťa Company”, in: Miroslava Ptáčková (ed.), Josef Sudek – Zlín, Zlín: Zlínský zámek o.p.s., 2022, pp. 3–11

• Mariana Kubištová, “Reportáž o zničeném městě. Sudkova ‘Zbořená Praha’ 1945 / A Reportage about a City Ravaged by War. Sudek’s ‘Ruined Prague,’ 1945”, in: Katarína Mašterová (ed.), Josef Sudek: Topografie sutin / The Topography of Ruins, Prague: Artefactum 2018, pp. 129–138

• Mariana Kubištová, “‘Nebloudím, krása vede na pravou cestu.’ Předchůdci, souputníci a následovníci Krásné jizby”, in: Lucie Vlčková – Alice Hekrdlová (eds.), Krásná jizba DP. Design pro demokracii 1927–1948, Prague: Museum of Decorative Arts in Prague – KANT 2018, pp. 85–95

• Mariana Kubištová, “The Poetics of Geometry: Josef Sudek as a Photographer of Modern Architecture”, in: Hana Buddeus – Katarína Mašterová – Vojtěch Lahoda (eds.), Instant Presence: Representing Art in Photography, Prague: Artefactum, 2017, pp. 280–295

• Mariana Kubištová, “Teige, Karel (1900–1951)”, in: The Routledge Encyclopedia of Modernism, Abingdon, 2016, on-line: https://www.rem.routledge.com/articles/teige-karel-1900-1951

• Mariana Kubištová, “Czech Avant-Garde Photography”, in: The Routledge Encyclopedia of Modernism, Abingdon, 2016, on-line: https://www.rem.routledge.com/articles/overview/photography

• Mariana Kubištová, “Design padesátých let: Východiska a podoby bruselského stylu”, in: Iva Knobloch – Radim Vondráček (eds.), Design v českých zemích 1900–2000: Instituce moderního designu, Prague: Academia – Museum of Decorative Arts in Prague, 2016, pp. 341–371

• Mariana Kubištová, “Moderně a nekonvenčně: Fotografie moderní architektury od Josefa Sudka”, in: Jiří Zikmund – Ladislav Zikmund (eds.), Architektura Hradce Králové na fotografiích Josefa Sudka, Prague: Zikmund Hradec Králové, 2014, pp. 8–17

• Mariana Kubištová, “Karel Herain: Základy zájmu o skandinávský design v Československu”, in: Ladislav Zikmund-Lender (ed.), Design/nábytek/interiéry: Osobnosti a sbírky nábytkového designu 20. a 21. století, Prague: Zikmund Hradec Králové – Museum of Decorative Arts in Prague, 2014, pp. 124–139

• Mariana Kubištová, “Výstavy fotografie v Krásné jizbě a fotografie na stránkách periodik Družstevní práce”, in: Lucie Vlčková (ed.), Krásná jizba. Výstavní činnost 1929–1936, Prague: Museum of Decorative Arts in Prague, 2009, pp. 138–155

Book Reviews

• Mariana Kubištová (review), “Na pomezí umění a obchodu” [Lada Hubatová-Vacková (ed.), Theatre of the Street: Advertising and Window Display within the Context of Modernism 1918–1938 / Divadlo ulice: Reklama a aranžerství výkladních skříní v kontextu modernismu 1918–1938, Prague 2021], Art & Antiques, 2022, no. 4, pp. 86–87

• Mariana Kubištová (review), “Mnohoznačný ornament” [Lada Hubatová-Vacková, Tiché revoluce uvnitř ornamentu: Studie z dějin uměleckého průmyslu a dekorativního umění v letech 1880–1930, Prague 2012], ERA 21, 2014, no. 1, p. 13

• Mariana Kubištová (review), “Hledání významu v periferii” [Denisa Václavová, Tomáš Žižka at al., Site Specific, Prague 2008], Art & Antiques, 2009, no. 4, pp. 56–58

Selected Paper Presentations

• “Moderní materiály ve sbírkách Uměleckoprůmyslového musea v Praze v historickém kontextu”, Péče o moderní materiály v muzeích, galeriích, knihovnách a archivech 2019, University of Chemistry and Technology Prague, 6 September 2019

• “Fotografické budování moderní Prahy 1920–1945 / Die fotografische Konstruktion des modernen Prag 1920–1945”, Od veduty k fotografii: Inscenování města v jeho historii / Von der Vedute zur Fotografie. Die Inszenierung der Stadt im Laufe der Geschichte, Prague City Archives, Clam-Gallas Palace in Prague, 6–7 October 2015

• “Od vzorkovny po DE(SIGN)UPM”, The Museum and Change IV : The International Museology Conference, The National Museum in Prague, 12–14 November 2013

• “Průsečíky automobilismu a moderní architektury ve fotografii”, Architektura ve službách motorismu, Research Centre for Industrial Heritage FA CTU Prague, Hradec Králové – Liberec, 20–22 September 2012

Fellowships and Research Stays

• Die Neue Sammlung – The Design Museum, Munich, Germany, 2014

Research Projects Member

• Josef Sudek and Photographic Documentation of Works of Art:
  From a Private Art Archive to Representing a Cultural Heritage, NAKI II, Ministry of Culture of the Czech Republic, no. DG16P02M002, 2016–2020, research collaborator

• Prefabricated Housing Estates in the Czech Republic as Part of the Urban Environment: An Evaluation and Presentation of Their Housing and Living PotentialPrefabricated Housing Estates in the Czech Republic as Part of the Urban Environment: An Evaluation and Presentation of Their Housing and Living Potential, NAKI, Ministry of Culture of the Czech Republic, no. DF13P01OVV018, 2013–2017, co-investigator

• Josef Sudek as a Photographer of Interwar Architecture, Charles University Grant Agency, 2011–2012, principal investigator

Selected Exhibitions Curated

• Residence: Prafab Estate. Plans, Realisation, Housing 1945–1989, The Museum of Decorative Arts in Prague, 25 January – 22 July 2018

• “I will gladly photograph modern architecture in a modern way.”Buildings Designed by Josef Gočár, Jaroslav Fragner, Richard F. Podzemný and Others in Photographs by Josef Sudek, The Museum of Decorative Arts in Prague – The House at the Black Madonna, 18 May – 18 September 2016

Books

• Kim Timby, Between Utopia and Entertainment: A History of 3D and Animated Lenticular Photography, Berlin: De Gruyter, 2015

Articles in Peer-Reviewed Journals

• Kim Timby, “Illuminating the Science of Art History: The Advent of the Slide Lecture in France,” History of Photography, vol. 47, no. 1, February 2023, pp. 72–89

• Kim Timby, “The Invention of the Myth of Total Photography,” International Journal on Stereo & Immersive Media, vol. 2, no. 1, January 2019, pp. 4–21

• Kim Timby, “Spectaculaire, réfléchie: la photographie en couleurs au prisme de la presse française, 1945–1960,” Focales, no. 1, June 2017, https://focales.univ-st-etienne.fr/index.php?id=507

• Kim Timby, “Glass Transparencies: Marketing Photography’s Luminosity and Precision,” PhotoResearcher, no. 25 (Photography in the Marketplace), Spring 2016, pp. 7–24

Book Chapters

• Kim Timby, “Building the ‘Museum without Walls’: Innovations in Photographic Art Reproduction in France, 1860–1960,” in: Natalie Adamson and Richard Taws (eds.), A Companion to French Art, Wiley Blackwell (in press, expected publication winter 2024–2025)

• Kim Timby, “Draeger Frères: Tradition and Innovation in the Printing of Art and Advertising,” in: Bart Sorgedrager (ed.), Factory Photobooks. The Self-Representation of the Factory in Photographic Publications, Rotterdam: nai010, 2023, pp. 302–341

• Kim Timby, “Le début de la vente de cartes postales dans les musées français, 1900-1912: connaître l’œuvre d’art à l’ère des médias de masse,” in: Magali Nachtergael and Anne Reverseau (eds.), Un monde en cartes postales. Culture en circulation, Marseille: Le Mot et le reste, 2022, pp. 31–43

• Kim Timby, “The Colors of Black-and-White Photography,” in: Bettina Gockel (ed.), The Colors of Photography, Berlin: De Gruyter, 2020, pp. 201–230

• Kim Timby, “Photography, Cinema, and Perceptual Realism in the Nineteenth Century,” in: Simone Natale and Nicoletta Leonardi (eds.), Photography and Other Media in the Nineteenth Century: Towards an Integrated History, University Park: Penn State University Press, 2018, pp. 176–190

• Kim Timby, “Look at those Lollipops! Integrating Color into News Pictures,” in: Vanessa Schwartz and Jason Hill (eds.), Getting the Picture. The History and Visual Culture of the News, London: Bloomsbury, 2015, pp. 236–243

Selected paper presentations

• “Bringing Home the Museum: The Color Turn in Art Reproduction in the Mid-Twentieth Century,” PhotoMatrix Project invitation, Institute of Art History, Czech Academy of Sciences, Prague, May 2024

• Keynote “Sepia: An Analogue ‘Filter’ in Twentieth-Century Photography?” Photography and Its Many Colours. Innovations, Emotions and Activism, Photographic History Research Centre, De Montfort University, Leicester [online], June 2021

• “L’Art et la carte postale. Le début de la vente de cartes postales dans les musées en France, 1900-1912,” Circulations des cartes postales dans la culture visuelle et littéraire (XXe–XXIe siècles), Institut pour la photographie, Lille [online], May 2021

• “Illuminating the Science of Art History: The Advent of the Slide Lecture in France,” Universities Art Association of Canada (UAAC/AAUC) Annual Conference, Vancouver [online], October 2020.

• “La palette du papier salé: l’appropriation artistique de la photographie par la couleur,” Que fait la couleur à la photographie?, Centre Culturel International de Cerisy, August 2020

• Keynote “The Construction of the Integral-Image Utopia,” International Conference on Stereo & Immersive Media: Photography and Sound Research, Universidade Lusófona, Lisbon, June 2018

• Guest discussant, The Colors of Photography, University of Zurich, Zurich, October 2015

• “Magazines as a catalyst in the adoption of color photography,” Photography in Print, Photographic History Research Centre, De Montfort University, Leicester, June 2015

Research Projects Member

• La Création Photographique: l’image, le reportage, la couleur, École des Hautes Études en Sciences Sociales (EHESS), Paris/Agence Nationale de la Recherche, France, 2009–2012, co-investigator and administrative coordinator

• Nicéphore Niépce: archives, édition et recherche, CNRS/Musée Nicéphore Niépce, France, 2002–2009, co-investigator

Courses Taught

• École du Louvre, Paris, course: History of Photography 3-year survey, 2005–present

Books

• Ada Ackerman, The Endless Library of Sergei Eisenstein, São Paulo: Kinoruss, 2019

• Ada Ackerman, Eisenstein et Daumier. Des affinités électives, Paris: Armand Colin, 2013

Selected Edited Volumes

• Ada Ackerman – Barbara Grespi – Andrea Pinotti (eds.), Mediatic Handology, Shaping Images, Interacting, Magicking, Mimesis, 2021 

• Ada Ackerman (ed.), Sergueï Eisenstein. L’Œil extatique, Centre Pompidou-Metz, 2019

• Ada Ackerman (ed.), Golem. Avatars d’une légende d’argile, Paris: Hazan, 2017

Articles in Peer-Reviewed Journals

• Ada Ackerman, “Pour un regard différé. L’art de Mykola Ridnyi”, Histoire de l’art, Ukraine, 2023, pp. 175–186

• Ada Ackerman, “Du carré au pixel. Entretien avec Antoine Schmitt”, K. Revue trans-européenne de philosophie et arts, numéro spécial Malevich : Unconditional Revolution / Malevič : la rivoluzione senza condizione", 2022, pp. 114–121

• Ada Ackerman, “L’ivresse du peuple croquée par Honoré Daumier”, Décor, numéro spécial Vulgaire, 2022, pp. 283–298

• Ada Ackerman and Massimo Olivero, “Quelle (s) histoire (s) du cinéma pour le XXIe siècle ? : Un débat entre François Albera, Mark Cousins, Gian Luca Farinelli, Sylvie Lindeperg et Elodie Tamayo”, in: Anne-Orange Poilpré (ed.), “Raconter”, Perspective. Actualité en histoire de l’art, 2022–2, pp. 39–68

• Ada Ackerman, “Un Soviétique à Hollywood : le cas de Sergueï Eisenstein”, Revue d’histoire culturelle. XVIIIe-XXIe siècles, 2021, 3

• Ada Ackerman, “Entre mouvement expressif et attraction. Le geste de l'acteur de théâtre selon Sergueï Eisenstein. Sources, méthodes, développements”, Revue d’Histoire du Théâtre n° 287, 2020, pp. 99–120

• Ada Ackerman, “Le mythe du Golem revisité par le cinéma”, Sculptures  n° 4, numéro La Sculpture et le vivant, 2017, pp. 24–32

• Ada Ackerman, “Sergei Eisenstein’s Graphic Translations of William Shakespeare’s Macbeth: Excess, Montage, Extasis”, Hradec Kralove, Journal of Anglophone Studies, vol. 3, 2016, no. 2, pp. 34–54

• Ada Ackerman, “Attention, religion! Retour sur une exposition controversée. Anticléricalisme, vandalisme et répression”, Proteus. Cahier des théories sur l’art, Automne 2016, no. 11, pp. 18–36

• Ada Ackerman, “Redonner visage aux gueules cassées : sculpture et chirurgie plastique pendant et après la Première Guerre mondiale”, RACAR Revue d’Art Canadienne, vol. 1, Printemps 2016, no. 41, pp. 5–21

• Ada Ackerman, “Бритье на предельной высоте : Сергей Эйзенштейн и Маргарет Бурк-Уайт”, Киноведческие Записки, 2015, no. 108–109, pp. 195–201

• Ada Ackerman, “La réception de Daumier en Russie. 1830-1917”, Nouvelles de l’Estampe, Printemps 2013,  no. 242, pp. 28–41

Selected Book Chapters

• Ada Ackerman, “L’écriture à l’épreuve du drone”, in: Alexandre Gefen (ed.), Créativités artificielles. La littérature et l’art à l’heure de l’intelligence artificielle, Paris: Les Presses du Réel, 2023, pp. 133–153

• Ada Ackerman, “Tchernobyl. Un défi à l’art pictural”, in: Galia Ackerman and Iryna Dmytrychyn (eds.), Tchernobyl. Vivre, penser, figurer, Paris: L’Harmattan, 2021, pp. 121–164

• Ada Ackerman, “Eisenstein’s Screams”, in: Ian Christie and Julia Vassilieva (ed.), The Eisenstein Universe, London/ Oxford/ New York/ New Delhi/ Sydney: Bloomsbury, 2021, pp. 91–114

• Ada Ackerman, “Eduardo Kac, the olfactive poet”, in: Jean-Alexandre Perras and Erika Wicky (eds.), Mediality of Smells, 2021, pp. 113–130

• Ada Ackerman, “Незабываемые крики Сергея Эйзенштейна: круговорот образов между живописью и кино”, in: Наум Клейман (ed.), Эйзенштейн для ХХИ века, Москва: Гараж, 2020, pp. 26–43

• Ada Ackerman, “‘Covid-Dronism’: Pandemic Views from Above”, in: Vinzenz Hediger – Philip Dominik Keidl – Laliv Melamed – Antonio Somaini (eds.), Pandemic Media, Lüneburg: Meson Press, 2020, pp. 167–171

• Ada Ackerman, “Eisenstein, collectionneur, curateur, homme de musée”, in: Ada Ackerman (ed.), Sergueï Eisenstein. L’Œil extatique, Centre Pompidou-Metz, 2019, pp. 33–46 

• Ada Ackerman, “Le Capital de Sergueï Eisenstein. Un scénario impossible?”, in: Mireille Brangé – Jean-Louis Jeannelle (ed.), Films à lire. Des scénarios et des livres, Bruxelles: Les Impressions Nouvelles, 2019, pp. 103–118

• Ada Ackerman, “Le Golem, une forme qui se dérobe”, in: Alain Fleischer and Alain Prochiantz (ed.), Le Rêve des formes. Arts, sciences et compagnie, Paris: Seuil, 2019, pp. 13–20

• Ada Ackerman, “La Kabbale, Johannes Reuchlin. Le Golem qui décida de s’autodétruire”, in: Jean-Philippe Uzan (ed.), Variations sur l’histoire de l’humanité, Montreuil: La Ville brûle, 2018, pp. 51–61

• Ada Ackerman, “Les revues photographiques soviétiques des années vingt”, in: Evanghelia Stead and Hélène Védrine (eds.) L’Europe des revues II (1860-1930). Réseaux et circulation des modèles, Paris: Presses Universitaires de Paris-Sorbonne, 2018, pp. 735–756

• Ada Ackerman, “Museum Hours, Museum Ours. Le musée revisité par Jem Cohen”, in: Joséphine Jibojki – Barbara Le Maître – Natacha Pernac – Jennifer Verraes, Muséoscopies. Fictions du musée au cinéma, Presses universitaires de Paris Nanterre, 2018, pp. 61–76

• Ada Ackerman, “Va, vis et deviens de Radu Mihaileanu : un exil qui colle à la peau. Le déracinement à l’œuvre”, in: Patricia-Laure Thivat (ed.), Voyages et exils au cinéma. Rencontres de l’altérité, Villeneuve d’Ascq: Presses Universitaires du Septentrion, 2017, pp. 225–240

• Ada Ackerman, “Les dessins mexicains de Sergueï Eisenstein : traces et symptômes d’une aventure intérieure”, in: Laurence Schifano and Antonio Somaini (eds.), Eisenstein leçons mexicaines. Cinéma, anthropologie, archéologie dans le mouvement des arts, Paris : Presses Universitaires de Paris-Ouest, 2016, pp. 125–152

• Ada Ackerman, “Why Daumier’s art is so cinematic for Eisenstein ?”, in: Naum Kleiman and Antonio Somaini (eds.), Notes for a General History of cinema, Amsterdam: Amsterdam University Press, 2016, pp. 255–266

• Ada Ackerman, “Маргарет Бурк-Вайт в советской культуре”, in: Е.Д Гальцова (ed), Постижение Запада. Иностранная культура в советской литературе, искусстве и теории. 1917-1941 гг. Исследования и архивные материалы, ИМЛИ РАН, 2016, pp. 829–854

• Ada Ackerman, “Домье - наш ! Оноре Домье в СССР в 1920-1940”, in: Е.Д Гальцова (ed), Постижение Запада. Иностранная культура в советской литературе, искусстве и теории. 1917-1941 гг. Исследования и архивные материалы, ИМЛИ РАН, 2016, pp. 815–828

• Ada Ackerman, “Margaret Bourke-White and Soviet Russia”, in: Norman E. Saul and William Ben Whisenhunt (eds.), New Perspectives on Russian-American Relations, New York : Routledge, 2015, pp. 193–212

• Ada Ackerman, “Le travail photographique de Margaret Bourke-White dans la culture soviétique”, in: Marie-Christine Autant-Mathieu (ed.), L’Étranger dans la littérature et les arts soviétiques, Villeneuve d’Ascq : Presses du Septentrion, 2014, pp. 283–296

• Ada Ackerman, “Os desenhos preparatórios de Invan o Terrivel, que tipo de ferramenta genética? A análise aplicada aos filmes”, in: Marie-Hélène Paret Passos – Noêmia Guimarães Soares – Sergio Romanelli – Sílvia Maria Guerra Anastácio (eds.), Processo de criação interartes : cinema, teatro e edições eletrônicas, São Paulo : Editora Horizonte, 2014, pp. 61–72

• Ada Ackerman, “Passages et transpositions de la théorie politique à l’écran”, in: Dork Zabunyan (ed.), Que peut une image? Carnets du BAL n° 4, Paris: Textuel/Centre National des Arts plastiques, 2013, pp. 116–137

Exhibitions Curated

• L’Œil extatique. Eisenstein. Cinéaste à la croisée des arts, Centre Pompidou-Metz, 28 September 2019 – 24 February 2020

• Golem ! Avatars d’une légende d’argile, Musée d’art et d’histoire du Judaïsme, Paris, 8 March – 16 July 2017

• La Pesanteur et la grâce. Autour de Résistance d’Alain Kirili, Mairie de Grenoble, 14– 2 May 2011

Exhibition Research Assistant

• 1917, Centre Pompidou-Metz, 26 May – 24 September 2012

• Futur antérieur. L’Avant-garde et le livre yiddish. 1914-1939, Musée d’art et d’histoire du Judaïsme, Paris, 11 February – 17 May 2009