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About Kathryn Floyd
Kathryn Floyd teaches courses in modern and contemporary art, as well as in the history of the arts of Africa and the history of photography. She has a BA (Art History and Anthropology) from Vanderbilt University, an MA (Art History) from the University of Georgia, and a PhD (Art History) from the University of Iowa where her dissertation “Between Change and Continuity: documenta 1955-2005” won a Graduate Deans' Distinguished Dissertation Prize in the Humanities. Before coming to Auburn in 2008, Dr. Floyd worked at the International Dada Archive at the University of Iowa Libraries and served as Visiting Assistant Professor of Art History at Skidmore College. Her teaching at Auburn University has been recognized with an SGA Outstanding Faculty Member Award (2011) and a College of Liberal Arts Teaching Excellence Award (2017).
Dr. Floyd’s research is concerned with the history of art in twentieth-century Germany with a specific focus on the history and historiography of art exhibitions and their mediation in catalogues, installation photographs, and film. She has conducted extensive research on the history of documenta, an on-going exhibition series founded in 1955 in Kassel, Germany. Her current book project explores the concept of the “installation shot,” through an exploration of photographs that document Wilhelm Lehmbruck’s Expressionist sculpture Kneeling Woman (1911) at different landmark modernist exhibitions in Germany and the United States between 1912 and 1955. Dr. Floyd’s research has been supported by the DAAD and by Auburn University and the AU College of Liberal Arts. Other recent projects include guest editing a special issue of the journal Dada/Surrealism on the history of avant-garde art exhibitions and on-going collaborative research on the historiography of Dada studies.
- "Writing the Histories of Dada and Surrealist Exhibitions: Problems and Possibilities." Dada/Surrealism 21 (2017): 1-19.
- Guest editor of “Exhibiting Dada and Surrealism,” Dada/Surrealism 21 (2017). Special issue on the history of Dada and Surrealist exhibitions and display practices.
- “d is for documenta: institutional identity for a periodic exhibition” On Curating (special issue on documenta, ed. Nanne Buurman and Dorothee Richter) 33 (June 2017): 9-19.
- “The Museum Exhibited: documenta and the Fridericianum.” In Images of the Art Museum: Connecting Gaze and Discourse in the History of Museology, eds. M. Savino and E. Troelenberg, 65-90. Berlin: De Gruyter, 2017.
- “Moving Statues: Arthur Grimm, the “Entartete Kunst” Exhibition, and Installation Photography as Standfotografie.” In Exhibiting the German Past: Museums, Film, and Musealization, eds. Peter McIsaac and Gabriele Mueller, 187-208. Toronto: University of Toronto Press, 2015.
- “Georges Adéagbo: Between Artwork and Exhibition.” In Exhibiting Outside the Academy, Salon, and Biennial, 1775-1999, ed. Andrew Graciano, 235-258. Farnham, Surrey, UK: Ashgate Press, 2015.
- “Future Objects / Object Futures: Object Oriented Ontology at dOCUMENTA (13) and Beyond,” Seismopolite: Journal of Art and Politics (special issue on “The Future of the Biennial,” ed. Paal Andreas Bøe) 6 (February 2014).
- “Simulated Journeys: Travels through the Documenta Photo Albums.” In The Photograph and the Album: Histories, Practices, Futures, eds. Jonathan Carson, Rosie Miller, and Theresa Wilkie, 276-317. Edinburgh and Cambridge, Mass.: MuseumsEtc. 2013.
Last Updated: December 05, 2019