11.02.2020
Kupferstichkabinett
In January 2020 Jenny Graser became the newest member of the curatorial staff at the Kupferstichkabinett, Staatliche Museen zu Berlin.
Jenny Graser studied art history, media studies and modern history at the Hochschule für bildende Künste and the Technische Universität Braunschweig, as well as at the Università degli Studi Roma Tre in Rome. Her dissertation, written at the Freie Universität Berlin with doctoral advisors Gregor Stemmrich and Klaus Krüger, addresses the interplay of object and eventfulness in moving sculptures based on the example of Jean Tinguely’s Theatre of Machines.
Graser gained her first experience with works on paper through the DFG (German Research Foundation) project the “Virtuelles Kupferstichkabinett” (Virtual Prints and Drawings Collection) at the Herzog Anton Ulrich-Museum in Braunschweig. Following the completion of her dissertation in 2015, she pursued this interest as a curatorial assistant in the Graphische Sammlung (Graphics Collection) at the Städel Museum in Frankfurt am Main. Exhibitions Graser assisted on there included Sigmar Polke: Early Prints and Antoine Watteau: The Draughtsman. She also curated the exhibition Into the Third Dimension: Spatial Concepts on Paper from the Bauhaus to the Present. Since then, Graser’s curatorial practice has to a large extent been characterised by multimedia or cross-media approaches.
From 2017 to 2019, while a fellow of the Gabriele Busch-Hauck Foundation, Jenny Graser reassessed the 20th century German drawings collection at the Städel Museum. Within the context of this project, she authored a catalogue featuring a representative selection of those holdings and curated the accompanying exhibition Great Realism & Great Abstraction: Drawings from Max Beckmann to Gerhard Richter.
In January 2020 Jenny Graser began working as a curator for contemporary art at the Kupferstichkabinett, Staatliche Museen zu Berlin, where she will place special focus on societally relevant questions of the present – including democratisation movements before and after 1990, the development of technological and digital media, and their contributions to the language of the visual arts. Graser will curate exhibitions, continue to develop the Kupferstichkabinett collection and also advance the national and international networks of this institution.
