• since 2020 Professorship for "Art History: History and Theory of Visual Culture" at the Institute of Art and Visual Culture at the University of Oldenburg
• 2015-2019 Deputy and visiting professorships at the Ruhr University Bochum, the University of Tübingen, the Goethe University Frankfurt, the Free University Berlin, the Ludwig-Maximilians-University Munich and the Berlin University of the Arts
• 2015 Habilitation at the FU Berlin: "Artikel der Kunst. Everyday objects and wordplay in the Parisian visual arts of the 19th century"
• 2007-2015 Research assistant at the Institute of Art History at the FU Berlin
• 2009-2011 Habilitation scholarship from the German Forum for Art History Paris
• 2005-2006 Scientific traineeship at the Staatsgalerie Stuttgart
• 2004 Doctorate at the FU Berlin: "Untitled. On the Naming of Art in New York 1940-1970", honoured with the Ernst Reuter Prize
• 2001-2002 Research stay in Washington, DC, and New York City
• 2001-2004 Doctoral scholarship from the Evangelisches Studienwerk Villigst, e.V.
• 1999-2000 Scholarship in the research project "Bürgerlichkeit, Wertewandel, Mäzenatentum" of the FU and TU Berlin
• 1998 Magister Artium at the FU Berlin: "Die Leuchtstofflampe in der bildenden Kunst: Dan Flavins the diagonal of May 25th, 1963 (to Constantin Brancusi)"

Securities of art. Authentication as an artistic concept in times of financial crises 1720-2020

A DFG project by Prof. Dr Tobias Vogt with the collaboration of Dr des. Lukas Töpfer.

https://gepris.dfg.de/gepris/projekt/514731806

With the advancement of digitalised and globalised information technologies, the use of authentication has gained attention not only in economics and law, but also in the visual arts. This research project is the first to examine artistically conceived certificates and contracts, which have become constitutive for the status and value of works of art as authentication procedures since the early 18th century due to increased capitalist and colonial trade relations. The guiding assumption is that artists in particular have reflected on these specific procedures of authentication themselves and integrated them into the structure of their works. At the centre of the project is, firstly, the question of an art history of authentication in overarching social and financial-historical contexts and, secondly, the question of the conception of authentication between accessory and work. In other words, it works through historically and theoretically what has so far only been researched marginally and in a particular way in art history, but is currently even reaching a broad public using the example of digital certification practices of reproduced artworks. The hypothesis is that authentications emerge as artistically conceived in particular when a prevailing value structure in the financial system is radically transformed. The aim is to reconstruct how these authentications become "securities of art" in five neuralgic periods between 1720 and 2020, which not only react to these crises, but also act as commentary, criticism or even corrective. The project aims to demonstrate this using subscription notes and related prints from around 1720 in London, caricatures and trompe-l'œils of paper money during the French Revolution, artistically interwoven bonds in the Roaring Twenties, authentications in New York Conceptual Art and contracts and certificates in contemporary installations. A financial-historical spectrum thus appears in the background, ranging from the burst "South Sea Bubble", an early speculative bubble caused by the transatlantic slave trade, to the global and digital markets of the present day. The project is divided into two parts, which are interlinked in such a way that they each give different weight to art-historical constellations and art-theoretical analyses. The central research questions thus concern both the interweaving of art history with financial history and a reorientation of the understanding of the "work" beyond the terms "parergon" and "paratext" in order to analyse from two sides - historically and theoretically - the shift from the authentication of art to authentication as art that is asserted here.

• Image and text (authentications, writing in art, titles)
• Works and goods (readymade, artistic vs. non-artistic production)
• US-American art (Abstract Expressionism, Minimal Art, Conceptual Art)
• Contemporary art (assemblage, exhibition, constructions of avant-gardes)
• Art historiography (rhetoric, art history vs. art criticism, methodological criticism)

Monographs

• Articles of art. Everyday objects and wordplay in the Parisian visual arts of the 19th century. Wilhelm Fink publishing house, Paderborn 2019.
• Untitled. On the Career of Untitled Art in Recent Modernism. Wilhelm Fink Verlag, Munich 2006.

Editorships (since 2010)

• Rebus 1843-2018. brochure on the exhibition at Kunstsaele Berlin with the participation of students from the Institute of Art History at Freie Universität Berlin. In: www.geschkult.fu-berlin.de/e/khi/_ressourcen/aktuelles/REBUS-1843-2018.pdf
• Art ↔ Terms of the present. From allegory to zip. Kunstwissenschaftliche Bibliothek vol. 50, published by Verlag der Buchhandlung Walther König 2013, together with Jörn Schafaff and Nina Schallenberg.

Essays (since 2010)

Journals, handbooks and yearbooks

• Drawing Shares/ Drawing Shares. In: Texte zur Kunst, issue 117, March 2020, pp. 110-125.
• Language in the artwork. In: Heiko Hausendorf, Marcus Müller (eds.): Handbuch Sprache in der Kunstkommunikation, Walter De Gruyter Verlag, Göttingen 2016, pp. 69-87.
• On the scientification of art criticism. Rhetorical patterns in texts about contemporary art. In: Journal of Art History, vol. 78, no. 1, 2015, pp. 65-74.
• Ellsworth Kelly. In: General Encyclopaedia of Artists. Vol. 80, Walter de Gruyter Verlag, Göttingen 2014, pp. 35-38.
• On Kawara. In: General Encyclopaedia of Artists. Vol. 79. Walter de Gruyter Verlag, Göttingen 2013, pp. 473-475.
• Neuproduktion/ New production. In: Petra Reichensperger (ed.): Begriffe des Ausstellens/ Terms of Exhibiting. Sternberg Press, Berlin 2013, pp. 263, 296-297.
• Certificate. In: Jörn Schafaff, Nina Schallenberg, Tobias Vogt (eds.): Art ↔ Terms of the Present. From allegory to zip. Kunstwissenschaftliche Bibliothek vol. 50, published by Verlag der Buchhandlung Walther König, Cologne 2013, pp. 337-343.
• 10 ½ inch square format. Artforum as an artists' magazine. In: Antje Krause-Wahl, Änne Söll (eds.): kritische berichte. Artists' Magazines, 4.2012, pp. 77-87.
• The Making of the Ready-made. In: Texte zur Kunst, issue 85, March 2012, pp. 39-57.

Collected volumes

• Bibendum, rubber and collage. Artefacts of the avant-gardes. In: Annette Gilbert, Cornelia Ortlieb, Andreas Bülhoff, Susanne Klimroth, Timo Sestu (eds.): <container class="Artefakte der Avantgarden 1885-2015">. wbg Academic (Wissenschaftliche Buchgesellschaft), Darmstadt 2023, pp. 77- 89.
• Queering Objects. Banknotes by Akasegawa Genpei and Maria Eichhorn. In: Oliver Klaassen, Andrea Seier (eds.): Queerulieren. Störmomente in Kunst, Medien und Wissenschaft. Neofelis Verlag, Berlin 2023, pp. 291-304.
• From Home and Abroad: Non-Art in Late 19^th-century Paris. In: Words and Concepts. Proceedings of the 34th World Congress of Art History, CIHA 2016, Vol. 1, Beijing 2019, pp. 210-214.
• Exhibiting comparisons. On the installation of other originals as an artistic practice. In: Klaus Krüger, Andreas Schalhorn, Elke Werner (eds.): Evidences of the Expository. Transcript publishing house, Bielefeld 2019, pp. 137-155.
• e-flux. From flowing fluorescent materials to electrified networks. Marcel Duchamp, Dan Flavin, Phillipe Parreno. In: Ulrich Pfisterer, Christine Tauber (eds.): Influence, Flow, Source: Aquatic Metaphors in Art History. Transcript Verlag, Bielefeld 2018, pp. 155-176.
• Buchstabenrebus: Gérôme's "O PTi CiEN" and Duchamp's "L.H.O.O.Q.". In: Boris Roman Gibhardt, Johannes Grave (eds.): Schrift im Bild. Reception-aesthetic perspectives on text-image relations in the arts. Wehrhahn Verlag, Hanover 2018, pp. 89-105.
• Visible world after closing time: A night programme by Fischli/Weiss as heterotopia. In: Kraus Krüger, Christian Hammes, Matthias Weiß (eds.): Art/Television. Actors, Formats and Framings of Television Performances. Wilhelm Fink Verlag, Paderborn 2016, pp. 209-225.
• Painting as Minor Art. In: Eva Ehninger, Antje Krause-Wahl (eds.): In Terms of Painting. Revolver Publishing, Berlin 2016, pp. 288-300.
• From certificate as accessory to authentication as art. In: Lucie Kolb, Christoph Lang, Wolfgang Ullrich, Judith Welter (eds.): Art Handling. Scores of logistics. JPR Ringier, Zurich 2016, pp. 81-89.
• Ready-made and poiesis. On the production of the ready-made. In: Andreas Beyer, Dario Gamboni (eds.): Poiesis. On doing in art. Deutscher Kunstverlag, Berlin and Munich 2014, pp. 275-292.
• Artists' theories of the refusal of theory in Abstract Expressionism. In: Eva Ehninger, Magdalena Nieslony (eds.): Theorie². Potential and potentiation of artistic theory. Peter Lang Verlag, Bern 2014, pp. 111-127.
• Necessarily Unique: the Drawing as the Multiplicand in the 1960s. In: Georg Ulrich Großmann, Petra Krutisch (eds.): The challenge of the object: 33rd congress of the International Committee of the History of Art 2012 = Die Herausforderung des Objekts: 33. Internationaler Kunsthistoriker-Kongress/ CIHA 2012, T. 1-4, published by the Germanisches Nationalmuseum, Nuremberg 2013, pp. 975-977.
• The producers of the porte-bouteilles. In: Rachel Mader (ed.): Collective Authorship in the Arts. Alternative action and model of thought. Peter Lang Verlag, Bern 2012, pp. 45-61.
• Paradoxes of enlightenment. Jeff Koons vs. Pablo Picasso. In: Verena Krieger, Rachel Mader (eds.): Ambiguity in Art. Types and Functions of an Aesthetic Paradigm. Böhlau Verlag, Cologne, Weimar and Vienna 2010, pp. 189-206.

Catalogue texts

• Pink. The genders of a colour. In: Exhibition Cat. Colour impulses. Colour in recent art. Situation Kunst (for Max Imdahl). Art Collections of the Ruhr University Bochum, Bochum 2019, pp. 96-107.
• Dan Flavin - Untitled, 1968. in: Nina Schallenberg (ed.): Marx Collection. 40 Werke / Marx Collection. 40 Works, Nationalgalerie zu Berlin and Edition Cantz, Berlin 2019, pp. 66-69.
• Of Parega and Paratexts. Max Schaffer's margins between writing and image / Of Parerga and Paratexts: Max Schaffer's Edges between Text and Image. In: Exhibition-Cat. Max Schaffer. Power of Style. GAK Society for Contemporary Art Bremen. Publishing house for modern art, Vienna 2017, pp. 45-54.
• On the history of the literally literal tilting figure Untitled. In: Exhibition cat. Untitled (untitled), Neue Gesellschaft für bildende Kunst, Berlin 2010, pp. 73-82.

Art criticism, exhibition and book reviews

• Anne-Sophie Aguilar & Éléonore Challine (eds.): L'Enseigne. Une histoire visuelle et matérielle. In: Regards croisés. Franco-German journal for art history Art History, Literary Studies & Aesthetics, No. 12, 2022, pp. 145-147.
• Biennale Arte di Venezia 2019/ Ralph Rugoff (ed.): May You Live in Interesting Times. In: CAA reviews, caareviews.org/reviews/3684 (March 2020).
• A production in love with detail. About Thea Djordjaze at Sprüth Magers, Berlin. In: Texte zur Kunst, issue 103, September 2016, pp. 213-215.
• Maria Eichhorn in Bregenz, Austria. In: Artforum international, Vol. 53, October 2014, p. 296.
• Munich, even. On Marcel Duchamp in the Kunstbau of the Lenbachhaus, Munich. In: Texte zur Kunst, issue 87, September 2012, pp. 216-220.