Kristine Nielsen is Assistant Professor of Art History and editorial board member of
the interdisciplinary journal Ekfrase: Nordic Journal of Visual Culture. She holds a
Ph.D. and M.A. from the University of Chicago and a Cand.mag. from the University of
Copenhagen, Denmark. 

Nielsen's areas of specialization are modern and contemporary art, the
historiography of art history and visual studies, post-1945 artistic developments in East
and West Germany, and the history and theory of iconoclasm & idolatry. Her current
book project examines the visuality and politics of monument production and destruction
in the GDR and FRG, arguing for a history of image negations. Her research has been
supported by various fellowships and grants, including the Mellon Humanities Fellowship
(2015), the Andrew W. Mellon Postdoctoral Fellowship in the Humanities (2010-12), Stone
Summer Theory Fellowship (2011), Getty Research Institute (2011), The Lipman Fellowship,
and University of Chicago's Visiting Committee on the Visual Arts. 

Publications 

“A Perfectly Nebulous Experiment: C.T.R. Wilson’s Cloud Chamber,” in Art, Technology and
Nature, edited by Camilla Skovbjerg Paldam and Jacob Wamberg. London: Ashgate, 2015. Pp.
175-184. 

“Suspended Subject Positions: Cai Guoqiang and the Medium of Gunpowder,” Studies in
Visual Arts and Communication, vol. 2, no. 1 (2015). 

Review of Architecture, Politics, and Identity in Divided Berlin by Emily Pugh.
Sehepunkte 15 (2015), No. 6. http://www.sehepunkte.de/2015/06/25238.html. The review also
appears in KUNSTFORM 16 (2015), No. 6.
http://www.arthistoricum.net/kunstform/rezension/ausgabe/2015/6/25238/ 

Translation of Hans Dam Christensen, “A Sign of the Times? Art History as/vs Cultural
History,” in Images of Culture: Art History as Cultural History, edited by Mikkel Bogh et
al. Copenhagen: Museum Tusculanum Press, 2014. 

“Vittigheden som politisk våben,” Special Issue on Image Wars, Periskop – forum for
kunsthistorisk debat 15 (2012): 98-123. 

“Reframing The Workers’ Militia Monument in Post-Unification Berlin,” Special Issue on
3D-Sculpture-Installation-Monuments, Passepartout 32 (2011): 229-247. 

“Quid pro Quo: Assessing the Value of Berlin’s Thälmann Monument,” in Art Outside the
Lines: New Perspectives on GDR Art Culture, edited by Elaine Kelly and Amy Wlodarski.
Volume 74 of the German Monitor Series. Amsterdam and New York: Rodopi, 2011. Pp. 65-89. 

“What Ever Happened to Ernst Barlach? East German Political Monuments and the Art of
Resistance,” in Totalitarian Art and Modernity, edited by Mikkel Bolt Rasmussen and Jacob
Wamberg. Aarhus: Aarhus University Press, 2010. Pp. 147-169. 

Review of “Theories of Memory: A Reader” edited by Michael Rossington and Anne Whitehead,
Ekfrase: Nordic Journal of Visual Culture 1 (2010): 72-73. 

“Politisk ikonoklasme og idolatri i den moderne visuelle kultur” (Political Iconoclasm
and Idolatry in Contemporary Visual Culture), in Visuel kultur – viden, liv, politik,
edited by Hans Dam Christensen and Helene Illeris. Copenhagen: Multivers, 2009. Pp.
329-348. 

Translation of Hans Dam Christensen, “Which Art History?” in Is Art History Global?
Volume 3 of The Art Seminar, edited by James Elkins. London and New York: Routledge,
2007. Pp. 298-309. 

Critics Roundtable Discussion: Mark B. N. Hansen, W. J. T. Mitchell, and Bernard
Stiegler. “Media’s Critical Space.” Conversation with Kristine Nielsen, Jason Paul, and
Lisa Zaher. Chicago Art Journal 16 (2006): 82-99. 

“Image.” The Keywords of Media Theory, Chicago School of Media Theory, 2003,
http://csmt.uchicago.edu/glossary2004/image.htm.