Natalie Adamson, PhD, University of St Andrews, UK
“Pierre Soulages’ Black Mirrors of Light”
Eli Bornstein, Artist and Editor of THE STRUCTURIST, University of Saskatchewan, Saskatoon, Canada – Keynote Speaker
“On the Future of Abstract Art”
Anja Baumhoff, PhD, Loughborough University, UK
“Abstract Painting – Gender Neutral or Male by Definition? The Cases of Wassily Kandinsky and Paul Klee”
Kirill Chunikhin, Jacobs University, Bremen, Germany
“The Representation and Reception of American Art in the USSR during the Cold War”
Prof. Dr. Ole W. Fischer, University of Utah, USA
“Nothing behind the Veil of Truth?: Henry van de Velde, Adolf Loos, Hermann Muthesius and the battle over abstract ornament in modern architecture”
Prof. Dr. Nina Gourianova, Northwestern University, USA
“The Anarchic Vision of Creativity”
Dr. des. Michael Hoff, Ruprecht-Karls-Universität Heidelberg
„The Opacity of Representation: How to Understand Kandinsky’s Achievements of 1913 from today’s perspective”
Prof. Naomi Hume, Seattle University, Seattle, WA, USA
“Frantisek Kupka’s Anarchist Colors”
Prof. Dr. Christian Janecke, Hochschule für Gestaltung, Offenbach, Germany
“The Legacy of Abstraction in Art in Today’s Photography”
Wendy Kelly, PhD, Monash University, Melbourne, Australia
“What is the Role of Abstraction within the Concerns of Visual Art Language Contemporaneously?”
Ketevan S. Kintsurashvili, PhD, independent scholar, Tblissi, Georgia
“Formalist Theory, Abstract Art, and Clive Bell’s ‘Knowledge of Three-Dimensional Space’”
Elena Korowin, MA, Kunsthochschule Karlsruhe, Germany
“Russian Avant-Garde Art as a Means of Cultural Diplomacy between the Soviet Union and West Germany”
Dr. Benjamin Lima, University of Texas, Arlington, USA
“Informel Painting as Material: The Case of Gruppe 53”
Prof. Susan Laxton, University of California, Riverside, CA, USA
“The Authority of the ‘Never-Seen:’ Photograms and the Advent of Abstract Photography”
Prof. Dr. Esther Levinger, University of Haifa, Israel
“Political Action and Abstract Art: the Work of Marc Devade (1970-1983)”
Prof. Andrew McNamara, Queensland University of Technology, Australia
“Picasso versus Duchamp: Minimal-Conceptual Art in Australia”
Prof. Dr. Birgit Mersmann, Jacobs University, Bremen, Germany
“Digital Abstraction”
Charlotte de Mille, PhD, Courtauld Institute, London, UK
“On the Musical Origins of Abstract Art: Riegl, Rhythm and Non-Representation”
Prof. Dr. Manfred Milz, University of Sharjah, United Arab Emirates
“Concrescence of Prehensions: Whitehead’s Process Metaphysics in Motherwell’s Plastic Automatism”
Gordon Monro, PhD, Monash University, Melbourne, Australia
“The Abstraction of Behaviour”
Franziska Müller, MA, Europa-Universität Viadrina Frankfurt/Oder, Germany
“Ernst Wilhelm Nay’s Vom Gestaltwert der Farbe: An example of artistic and philosophical concepts and cultural and educational policy in Postwar Germany”
Prof. Dr. Christiane Paul, Whitney Museum and The New School, New York, USA
“Abstract Art in the 21st century”
Agata Pietrasik, MA, University of Warsaw, Poland
“Emphathy for Abstraction: Wilhelm Worringer Revisted”
Mona Schieren, Hochschule für Künste, Bremen, Germany
„‘Incorruptible Forms‘: The Abstract Work of Agnes Martin”
Dorothea Schöne, MA, Universität Hamburg, Germany
“Free Artists in Free Berlin.” German-American Support of Art and Culture in Berlin: From the late 1940s to the mid 1950s”
Prof. Dr. Pamela Scorzin, Fachhochschule Dortmund, Germany
“DAY GLO NEO GEO”
Dr. Daniela Stöppel, Ludwig-Maximilians-Universität München, Germany
“From the Black Square to Traffic Signs: The Functionalization of Abstract Art in the 1920s”
Prof. Rose Carol Washton Long, Graduate Center, City Univ. of New York, USA
“Kandinsky, Anarchism, and the Narrative of Modernism”Dr. Karin Wimmer, LMU, München
“From Automatic Drawing to American Abstract Art: André Masson, Jackson Pollock and Cy Twombly”
“From Automatic Drawing to American Abstract Art: André Masson, Jackson Pollock and Cy Twombly”
Prof. Dr. Isabel Wünsche, Jacobs University, Bremen, Germany, Conference Organizer