Christine Mehring

Christine Mehring

Department Chair and Professor of Art History and the College
263 Cochrane-Woods Art Center

Ph.D. Harvard University - 20th century art, contemporary art, art theory and criticism. Current areas of interest: abstraction, art and design, postwar Western Europe, German art, relations between new and traditional media.

Selected Publications

  • “Shock Value: Sigmar Polke,” Artforum (April 2014).
  • “Polke’s Rapport,”  Sigmar Polke: Alibis, 1963-2010, exh. cat. (New York: Museum of Modern Art, and London: Tate Modern, 2014).
  • “Unrealized: After Palermo’s Late Work,” in Palermo: Works on Paper 1976-1977, exh. cat. (New York: David Zwirner, 2013).
  • “Capitalist Realist Information Art”/”Kapitalistisch-Realistische Informationskunst,” in Manfred Kuttner: Phänomene und Realitäten, exh. cat. and catalogue raisonné (Esslingen: Villa Merkel, 2013).
  • “’….To move within the picture…:’ Wassily Kandinsky’s Wall-Painting Commissions,” in Demain: L’art à l’avant-garde de la démocratie, ed. Francois Hers, Bruno Latour, Anne Pontegnie, Richard Sennett, et al. (Paris: Fondation de France, 2013).
  • Sabine Moritz: Limbo 2013, exh. cat. (Paris: Marian Goodman, 2013).
  • “Richter’s Willkür,” Art Journal  (Winter 2012).
  • "East or West, Home is Best: Friends, Family and Design in Gerhard Richter's Early Years," in Gerhard Richter: Panorama, exh. cat. (London: Tate Modern, Berlin: Neue Nationalgalerie, and Paris: Centre Pompidou, 2011).
  • Gerhard Richter: Early Work, 1951-1972, eds. Christine Mehring, Jeanne Nugent and Jon Seydl (Los Angeles: Getty Publications, 2010).
  • “Richter’s Collaborations, Richter’s Turn,” in Gerhard Richter: Early Work, 1951-1972, eds. Christine Mehring, Jeanne Nugent and Jon Seydl (Los Angeles: Getty Publications, 2010).
  • "Public Options: The Art of Charlotte Posenenske," Artforum (September 2010).
  • “Modest Abstraction: Thomas Schütte's Early Work," in Thomas Schütte: Retrospective, exh. cat., ed. Lynne Cooke (London: Cornerhouse, 2010).
  • “Art of a Miracle: Towards a History of German Pop, 1955-1972,” Art of Two Germanys, Cold War Cultures, exh. cat. (Los Angeles: LACMA, 2009).
  • “Light Bulbs and Monochromes: The Elective Affinities of Palermo and Richter,” in Blinky Palermo: To the People of New York City, ed. Lynne Cooke and Karen Kelly (New York: Dia Art Foundation, 2009).
  • "Alma Buscher: Ship Building Blocks," and "Vasily Kandinsky: Wall Painting Designs," in Bauhaus 1919-1933: Workshops for Modernity, exh cat. (New York: Museum of Modern Art, 2009).
  • Blinky Palermo, Abstraction of an Era (New Haven: Yale University Press, 2008).
  • "Tools of Engagement: The Art of Franz West," Artforum (October 2008).
  • “Television Art’s Abstract Starts, Europe c. 1944-1969,” October 125 (Summer 2008).
  • “Emerging Markets: The first contemporary art fair,” Artforum (April 2008).
  • Duckhunting with Dieter Roth,” in Object Lessons (New Haven: Yale University Art Gallery, 2008).
  • “Modernism by the Yard: Yve-Alain Bois, Christine Mehring, and Ann Temkin discuss Palermo’s cloth-pictures,” in: Palermo (Düsseldorf: Kunsthalle, 2007).
  • “Mass Appeals: The Art of Thomas Bayrle,” Artforum (April 2007).
  • Benjamin Buchloh,” in Art: Key Contemporary Thinkers, ed. Jonathan Vickery and Diarmuid Costello (Oxford: Berg/Oxford International, 2007).
  • “Siskind’s Challenge: Action Painting and A Newer Laocoon, Photographically Speaking,” Yale University Art Gallery Bulletin (2006).
  • “Hans Hartung, Mid-Century Modern,” in: Hartung: 10 Perspectives, ed. Anne Pontegnie (Milan: 5 Continents, and Antibes: Fondation Hans Hartung et Anna-Eva Bergmann, 2006).
  • Neo Rauch Renegaten, exh. cat. (New York: David Zwirner Gallery, 2005).
  • “Abstraction and Decoration in Blinky Palermo’s Wall-Paintings,” Grey Room (Winter 2005).
  • “Continental Schrift: The Magazine Interfunktionen,” Artforum (May 2004).
  • “Supergegenständlichkeit: Der Maschinenmaler Konrad Klapheck,” Special Issue on the 1950s, Texte zur Kunst (June 2003).
  • Wols Photographs, exh. cat. (Cambridge, MA: Harvard University Art Museums, distributed by Yale University Press, 1999).


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