Juliet Koss,

• Ph.D. History and Theory of Art and Architecture, Department of Architecture, Massachusetts Institute of Technology
• B.A. Art History, Columbia University

Nineteenth- and twentieth-century European art, architecture, and related fields, with an emphasis on German and Soviet modernism. The Gesamtkunstwerk (total work of art), outmoded and newfangled media, the Bauhaus, Productivism, and theories of modern spectatorship. Current book project: Model Soviets, under contract with MIT Press.

• Art, Activism, Propaganda
• Architectural Models, Monuments, and Miniatures
• Humanities Institute Junior Fellows Seminar: Silence
• Representing the Metropolis
• European Modernism 1840-1940
• The Bauhaus
• Russian and Soviet Avant-Gardes
• Architectural Modernism in Los Angeles
• Old New Media
• Modernism and Memoir
• History of Photography
• Human Dolls
• Early-Twentieth-Century European Avant-Gardes
• Art since 1945
• Senior Seminar in Art History
• Core I: Culture, Knowledge, Representation
• Core II: Old New Media
• Core II: Nationalism and Culture (team-taught with Prof. Kang in the Music Department)
• Core III: Human Dolls from the Automaton to the Cyborg
• Core III: Snapshots, Portraits, Instagram

Books

• Modernism after Wagner. Minneapolis: University of Minnesota Press, 2010 (416 pages, 100 black & white illustrations, 14 color plates; 7½ x 10½ inches). Simultaneous hardback and paperback publication. Recipient of a Millard Meiss Publication Grant from the College Art Association in 2007 and one of three finalists for the 2011 Charles Rufus Morey Book Award, given annually by the College Art Association in honor of an especially distinguished book published the preceding year in art history. For more on this book, click here.
• Model Soviets. Under contract with MIT Press. Addressing the Soviet obsession with construction in the 1920 and 30s with particular attention to the city of Moscow, this book explores how documentary images of architecture—photographs of models, still and moving images of buildings under scaffolding, and representations of completed works—emblematized the construction of the Soviet state. Interdisciplinary in approach, the book reveals how images of designs, of buildings under construction, and of completed edifices presented utopian visions as monumental facts even as the nation itself remained chaotically under construction.

Journal articles, book chapters, and exhibition catalog essays

• "During the Bauhaus," in After the Bauhaus, Before the Internet: A History of Graphic Design Pedagogy, ed. Geoff Kaplan. Cambridge MA: MIT Press/no place press, 2022, 74-84
• "Liubov Popova, Production Clothing for Actor No. 7, 1922,” in Engineer, Agitator, Constructor: The Artist Reinvented, 1918-1939, ed. Jodi Hauptman and Adrian Sudhalter. New York: Museum of Modern Art exh. cat., 2020, 64-67
• "Red Flags," invited response to "The Future of Avant-Garde Studies: A European Round Table, 2010" (with Wolfgang Asholt, Peter Bürger, Éva Forgács, Benedikt Hjartarson and Piotr Piotrowski, moderated by Hubert van den Berg), Journal of Avant-Garde Studies 1 (inaugural issue), 2020
• "Proposal for Model Soviets," in Too Big to Scale: On Scaling Space, Numbers, Time, and Energy, ed. Florian Dombois and Julie Harboe (Zurich: Scheidegger & Speiss, 2017), 81-96
• “Facing Design,” in Xanti Schawinsky: Head Drawings and Faces of War. New York: The Drawing Center exh. cat., 2014, 11-43. Excerpt reprinted as “New York Faces,” published in English and in German (trans. Christian Quatmann), in Xanti Schawinsky, ed. Raphael Gygax. Zurich: Migros Museum für Gegenwartskunst and JRP/Ringier, 2015, 97-110
• “VKhUTEMAS Snapshots,” in Modelling Time: The Permanent Collection, 1925-2013, ed. Mari Lending and Mari Hvattum. Oslo: Torpedo Press, 2014, 267-70
• “Some Human Dolls,” in Human—Space—Machine: Stage Experiments at the Bauhaus, ed. Torsten Blume and Christian Hiller. Dessau Bauhaus exh. cat; Leipzig: Spector Books, 2014, 18-30. Published simultaneously in German as “Einige menschliche Puppen,” trans. Chris Michalski, in Mensch—Raum—Maschine: Die Bühnenexperimente am Bauhaus, ed. Blume and Hiller. Dessau Bauhaus exh. cat; Ostfildern: Hatje Cantz, 2014, 18-31; and in Korean (trans. Jawoon Kim) in Human—Space—Machine: Stage Experiments at the Bauhaus at the National Museum of Modern and Contemporary Art; Seoul: Yoon Namsoon Publishers, 2014, 26-34. Abridged and translated version of “Bauhaus Theater of Human Dolls,” Art Bulletin 85, no. 4 (December 2003): 724-45
• “Wagnerian Addictions/Wagnerska Beroenden,” trans. Jim Jakobsson, in More Than Sound/Mer än Ljud, ed. Sara Arrhenius, Magnus Bergh, and Theodor Ringborg. Stockholm: Albert Bonniers Förlag, 2013, 61-69 (English version) and 58-66 (Swedish version)
• “Scalebound Bauhaus,” in The Islands of Benoit Mandelbrot: Fractals, Chaos, and the Materiality of Thinking, ed. Nina Samuel. Bard Graduate Center Gallery exhibition catalog; New Haven: Yale University Press, 2012, 148-53
• “Bauhausfolket [Bauhaus People]," trans. Nina Poulsen, in Kulturo: Tidsskrift for Kunst, Litteratur og Politik (Kulturo: Journal for Art, Literature, and Politics) No. 34 (special issue on Folkelighed), Copenhagen, Denmark, Fall 2012: 78-88
• “Invisible Wagner,” in The Aesthetics of the Total Artwork: On Borders and Fragments, ed. Anke Finger and Danielle Follett. Baltimore: Johns Hopkins University Press, 2010, 168-90 (peer-reviewed); a reformulation of chapters 1, 2, and 8 of Modernism after Wagner (Minneapolis: University of Minnesota Press, 2010).
• “Please Hold,” in After the Digital Divide: German Aesthetic Theory in the Age of New Media, ed. Lutz Koepnick and Erin McGlothlin. Rochester, NY: Camden House, 2009, 101-16 (peer-reviewed)
• “Uber die Grenzen der Einfuhlung,” trans. Joseph Imorde in Einfuhlung: Zu Geschichte und Gegenwart eines asthetischen Konzepts, ed. Robin Curtis and Gertrud Koch. Berlin: Fink Verlag, 2009, 105-26. German translation of “On the Limits of Empathy,” The Art Bulletin 88, no. 1 (March 2006): 139-57
• “Bauhaus Theater of Human Dolls,” in Bauhaus Culture: From Weimar to the Cold War, ed. Kathleen James-Chakraborty. Minneapolis: University of Minnesota Press, 2006, 90-114 (cover essay); abridged version of essay in Art Bulletin 85, no. 4 (December 2003): 724-45
• “On the Limits of Empathy,” The Art Bulletin 88, no. 1 (March 2006): 139-57 (double-blind peer-reviewed)
• “Coming to Terms with the Present,” Grey Room 16, Special Issue: Memory/History/ Democracy (September 2004): 116-31 (peer-reviewed)
• “Reflections on the Silent Silver Screen: Advertising, Projection, Reproduction, Sound,” Kritische Berichte: Zeitschrift für Kunst und Kulturwissenschaften 32, no. 2 (July 2004): 53-66
• “Bauhaus Theater of Human Dolls,” The Art Bulletin 85, no. 4 (cover essay, December 2003): 724-45 (double-blind peer-reviewed)
• “Empathy and Abstraction at the Munich Artists’ Theatre,” in The Built Surface, volume 2: Architecture and the Pictorial Arts from Romanticism to the Twenty-First Century, ed. Christy Anderson and Karen Koehler.London: Ashgate Press, 2002, 98-119
• “Playing Politics with Estranged and Empathetic Audiences: Bertolt Brecht and Georg Fuchs,” The South Atlantic Quarterly 96, no. 4 (1998): 809-20 (peer-reviewed)
• “Allegorical Procedures, Apocalyptic Threats: Early Weimar Cultural Positions,” in Issues of Performance in Politics and the Arts. Berkeley: Berkeley Academic Press, 1997, 101-15

Reviews, translations, and other publications

• Review of Anna Bokov, Avant-Garde as Method: Vkhutemas and the Pedagogy of Space, 1920-1930 (Zurich: Park Books, 2020) in Slavic Review 81, no. 3 (Fall 2022): 841-43
• Review of Katherine Zubovich, Moscow Monumental: Soviet Skyscrapers and Urban Life in Moscow’s Capital (Princeton: Princeton University Press, 2021), Slavonic and East European Review 99, no. 4 (October 2021): 784-86
• “Gesamtkunstwerk,” in The Cambridge Wagner Encyclopedia, ed. Nicholas Vazsonyi. New York: Cambridge University Press, 2013, 158-60
• “The Myth of the Gesamtkunstwerk” and “Mythos Gesamtkunstwerk” (trans. Stephan Korff), special supplement to Der Tagesspiegel on the American Academy in Berlin, 14 September 2008
• Review of John V. Maciuika, Before the Bauhaus: Architecture, Politics, and the German State, 1890-1920 (New York: Cambridge University Press, 2005), Centropa: The Journal of Central European Architecture and Related Fields 6 no. 3 (September 2006): 257-60
• “the Cambridge editors who now Assemblage fold (with apologies to e. e. cummings),” Assemblage 41 (MIT Press, 2001): 36
• “Paying Attention: Jonathan Crary and Seurat’s Parade de Cirque,” Faultlines 7 (Journal of the UCLA Department of Architecture and Urban Design, May 2000): 1-2
• Review of Jonathan Crary, Suspensions of Perception: Attention, Spectacle, and Modern Culture (Cambridge, Mass.: MIT Press, 2000), College Art Association Online Reviews, March 2000
• “Critic-at-Large: In(di)visible Cities,” review essay on the four-day symposium “(In)visible Cities: From the Postmodern Metropolis to the Cities of the Future,” held at Columbia University and Cooper Union in 1996, ANY/Architecture New York 17 (January 1997): 11-13
• “Hooked on Kracauer,” review essay on Siegfried Kracauer, The Mass Ornament: Weimar Essays, trans. Thomas Y. Levin (Cambridge, Mass.: Harvard University Press, 1995), Assemblage 31 (December 1996): 80-89
• Translation from the German of Ákos Moravánszky, “The Dramatized Building Site: The Poetry of Building Before and After the Political Transition,” in New Building Today: European Architecture of the 1990s, ed. Architektur Zentrum, Vienna. Boston: Birkhäuser, 1995, 152-61

Selected External Fellowships and Honors

• Visiting Scholar, Jordan Center for the Advanced Study of Russia, New York University, 2024-25
• Visiting Scholar, Harriman Institute for Russian, Eurasian, and East European Studies, Columbia University, 2022-23
• Ailsa Mellon Bruce Senior Fellow, Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington D.C., 2021-22
• Furthermore Publication Grant (J. M. Kaplan Fund, New York) for Model Soviets, 2021
• Visiting Scholar, Harriman Institute for Russian, Eurasian, and East European Studies, Columbia University, spring and fall 2015; fall 2016
• Clark Fellowship, Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, spring 2016
• Humboldt Foundation Research Fellowship (extension), affiliated with the Institut für Kunst- und Bildgeschichte, Humboldt University, Berlin (Academic host: Prof. Horst Bredekamp), spring 2013
• Rudolf Arnheim Visiting Professor, Institut für Kunst- und Bildgeschichte, Humboldt University, Berlin, 2011
• Modernism after Wagner chosen as one of three finalists for the Charles Rufus Morey Book Award, given annually by the College Art Association in honor of an especially distinguished book published the preceding year in the history of art, 2011
• American Academy in Berlin, Ellen Maria Gorrissen Berlin Prize Fellow, spring 2009
• Canadian Centre for Architecture, Montreal, Visiting Scholar, spring 2008
• Mellon Foundation New Venture Fellowship for The USSR in Construction, 2007-8
• College Art Association Millard Meiss Publication Grant for Modernism after Wagner, 2007
• ACLS / Arnold L. and Lois S. Graves Award for Outstanding Accomplishment in Actual Teaching in the Humanities, 2006
• Scott Opler Fellowship for Emerging Scholars, Society of Architecture Historians, 2004
• Humboldt Foundation Research Fellowship (extension), affiliated with the Institut für Kunst- und Bildgeschichte, Humboldt University, Berlin (Academic host: Prof. Horst Bredekamp), 2003-4
• Humboldt Foundation Research Fellowship, affiliated with the Institut für Kunst- und Bildgeschichte, Humboldt University, Berlin (Academic host: Prof. Horst Bredekamp), 2002-3
• National Endowment for the Humanities Summer Research Stipend, 2002
• Getty Research Institute Predoctoral Fellowship. Two-year residency and participation in the Scholars and Seminars Program, Getty Research Institute for the History of Art and the Humanities, Los Angeles, 1998- 2000
• American Association of University Women, American Fellowship for Dissertation Research, 1997-98
• German Language Training Grant, Center for European Studies, Harvard University, 1996
• Distinguished Teaching Award (Teaching Fellow), Harvard University, 1995
• Lucius N. Littauer Foundation Fellowship for travel and research in St. Petersburg, Russia, summer 1994

Selected Internal Fellowships and Honors

• Gabrielle Jungels-Winkler Chair in the History of Architecture and Art, appointed 2018
• Faculty Research Grants, Scripps College (2001, 2002, 2005, 2007, 2009, 2011, 2014, 2016, and 2018)
• Course Development Grant, Mellon Foundation (2010, 2012, 2013)
• Mary W. Johnson Faculty Achievement Awards for Research (2006 and 2011)
• Mary W. Johnson Faculty Achievement Award for Teaching (2001)
• Kelly/Douglas Research Grant for Support of Humanistic Scholarship and Teaching at MIT (2000)
• Schlossman Research Award, Department of Architecture, MIT (1997)

Other Professional Appointments

• PhD Council, Doctoral School of Arts and Design, Higher School of Economics, Moscow, since 2019
• Secretary, Board of Directors, Historians of German, Scandinavian, and Central European Art (HGSCEA), Affiliated Society of the College Art Association. One of four at-large board members, 2011-17; Board Secretary, 2017-20
• Editorial Board, Modernism/Modernity, the official journal of the Modernist Studies Association, published quarterly by Johns Hopkins University Press, 2011-20
• Rudolf Arnheim Visiting Professor, Institut für Kunst- und Bildgeschichte, Humboldt University, Berlin, 2011