Birgit Jooss

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Birgit Jooss (* 1965 in Darmstadt ) is a German art historian and archivist .


Birgit Jooss studied art history, art education and history in Munich and received her doctorate in 1998 with a thesis on living images . She also studied archival science at the Potsdam University of Applied Sciences. She worked at the Deutsches Historisches Museum , Berlin (1992), the Museum Villa Stuck (1992–2001), the Murnau Castle Museum (1998–2000), the Institute for Art History at the Ludwig Maximilians University , Munich (2000–2007) and in from the Academy of Fine Arts in Munich (2003–2007). From 2007 to 2015 she headed the German Art Archive in the Germanisches Nationalmuseum Nürnberg. From April to September 2015 she was director of the archive of the Akademie der Künste in Berlin, from 2016 to the beginning of 2020 she was director of the documenta archiv in Kassel. After three and a half years of activity, she left the archive in Kassel at her own request to take on a position at the Central Institute for Art History in Munich in February 2020 . There she heads the project “Dealers, collectors and museums: the Julius Böhler art dealer in Munich, Lucerne, Berlin and New York”.

Publications (selection)

Birgit Jooss has emerged from numerous publications, including a. on the history of art institutions, the art industry, artist training or photography, as well as on archival topics.

  • Living pictures . Physical imitation of works of art in Goethe's time . Berlin 1999.
  • Studios as sanctuaries for art. The “artist altar” around 1900. Munich 2002.
  • The staging strategies of the artist princes in historicism . In: Plurale. Zeitschrift für Denkversionen, 2005, no. 5, pp. 196–228.
  • National identities - international avant-garde. Munich as the European center of artist education. Edited by Birgit Jooss / Christian Fuhrmeister . In: zeitenblicke 5 (2006), No. 2. URL: [19. September 2006].
  • Branko Senjor . 1960s - years of transition. Photographs from the Munich Art Academy. Edited by Walter Grasskamp / Birgit Jooss. Munich / Berlin 2006.
  • On the student unrest of 1968. In: Between German Art and International Modernity. Forms of artist training 1918 to 1968. Edited by Wolfgang Ruppert / Christian Fuhrmeister . Weimar 2007, pp. 81-102.
  • Art institutions. On the emergence and establishment of the modern art business. In: History of the fine arts in Germany. From Biedermeier to Impressionism . Edited by Hubertus coal . Munich / Berlin / London / New York 2008, pp. 188–211.
  • "Against the so-called splashes of color". The claim of the Munich Art Academy as an institution of tradition (1886–1918). In: 200 years of the Academy of Fine Arts in Munich. "... no specific curriculum, no uniform mechanism". Edited by Nikolaus Gerhart / Walter Grasskamp / Florian Matzner . Munich 2008, pp. 54–65.
  • The studio as a reflection of the artist. In: artist princes. Max Liebermann , Franz von Lenbach , Franz von Stuck . Edited by the Brandenburg Gate Foundation. Berlin 2009, pp. 57-66.
  • "Meaningful and delightful festival". Living pictures in photography . In: La Bohème. The staging of the artist in photographs from the 19th and 20th centuries. Edited by Bodo von Dewitz . Göttingen 2010, pp. 85-89 (English: pp. 344-345).
  • The Munich Sculpture School. Figurative work under the sign of tradition. In: Anzeiger des Germanisches Nationalmuseum. Nuremberg 2010, pp. 135–169.
  • The digital edition of the matriculation books of the Münchner Kunstakademie (writings of the Institute for Documentology and Editing 4). Norderstedt 2010.
  • Johannes Grützke . The retrospective. Nuremberg 2011.
  • Between study of antiquity and master class. Everyday teaching at the Munich Art Academy in the 19th century. In: Ateny nad Izarą. Malarstwo monachijskie. Stuida i szkice / Athens on the Isar. Munich painting. Studies and sketches. Edited by Eliza Ptaszynska, Suwałki 2012, pp. 23–45.
  • Heinemann Gallery . The checkered history of a Jewish art dealer between 1872 and 1938. In: Anzeiger des Germanisches Nationalmuseums. Edited by G. Ulrich Großmann, Nürnberg 2012, pp. 69–84.
  • “A rebuke was never pronounced”. Prince Regent Luitpold as a friend of the artist. In: Prince Regent Luitpold of Bavaria. A Wittelsbacher between tradition and modernity. Edited by Ulrike Leutheusser and Hermann Rumschöttel, Munich 2012, pp. 151–176.
  • Against forgetting. The faces of the German Art Archive . In: Newsletter photography. Analog and digital image media in archives and collections. Edited by Hubert Locher and Christian Bracht, Vol. 21, No. 4, 2014, pp. 33–42.
  • “Sweet darling and sweet darling” - Otto Dix 's letters to Käte and Katharina Koenig in Dresden. In: Anzeiger des Germanisches Nationalmuseums 2014. Ed. By G. Ulrich Großmann, Nürnberg 2015, pp. 127–144.
  • Why keep the written estates of artists? In: What remains. Concepts for dealing with artist estates. Published by the Künstlerbund Baden-Württemberg eV, Neustadt 2015, pp. 213–217.
  • With the walking stick through the modern age. Harry Graf Kessler . In: Weltkunst. The art magazine of the time. Special issue "Berlin". Edited by Christoph Amend and Gloria Ehret, April 2016, pp. 62–68.
  • The faces of art. Contributions from the conference in the Germanisches Nationalmuseum . Edited together with Lars Blunck , Nuremberg 2018
  • bauhaus I documenta. Vision and brand. Edited together with Philipp Oswalt and Daniel Tyradellis , Leipzig 2019

Digital projects

Web links

Individual evidence

  1. Birgit Jooss leaves the documenta archive , published and accessed on January 21, 2020
  2. ^ The digital edition of the matriculation books of the Academy of Fine Arts Munich. In: Institute for Documentology and Editing, accessed on August 18, 2017 .
  3. Further reading. In: Germanisches Nationalmuseum, Nuremberg, accessed on August 18, 2017 .
  4. 50 Years of the German Art Archive (formerly Archive for Fine Arts). In: German Art Archive, October 22, 2014, accessed on August 18, 2017 .
  5. documenta archive. Retrieved September 12, 2019 .