Claudia Marion Stemberger

Claudia Marion Stemberger



Claudia Marion Stemberger currently works on her Ph.D. in Art History at Duke University. Her area of specialization is global twentieth-century art. She has been trained internationally across several continents and languages. Her interests focus on contextual meanings of contingency in art, methods of global modernism & global art histories, and art historians’ writing of intellectual history.

Current Research: 
Her doctoral study considers visual arts perspectives on contingency. Chaired by Professor Mark B.N. Hansen, her dissertation committee includes Professors Esther L. Gabara, Richard J. Powell, Julia E. Robinson [NYU], and Gennifer Weisenfeld.

Selected Fellowships and Awards:
Claudia Marion Stemberger’s research has been supported by the Abner Kingman Fellowship at McGill University, Montréal, and she was a recipient of the International Postgraduate Fellowship by the Austrian Federal Ministry of Science and Research. She was a fellow of the Summer Academy by eikones at the University of Basel, and at the IFK / International Centre for Cultural Studies in Vienna.

Selected Publications:
She has published “Postmodernity’s Vertigo: Chance and Increase of Contingency in Performance and Film” (ilinx 1, 2010, in German, with I. Exner), and “South African Live Art and the Representation of its Residue” (Performativity in the Gallery, Peter Lang 2014). She continues to publish contextual essays about contemporary artists in exhibition catalogues and art magazines.

Employment History: 
Beyond academia, Stemberger held executive positions in arts institutions, such as Tanzquartier Wien in Vienna. Prior to her Ph.D. curriculum in North America, she also pursued an international  career as curator in Western Europe and sub-Sahara Africa. Her award-winning exhibitions addressed global women’s art (No more bad girls?, Vienna and Bergen; with K. Becker), present-day perceptions of home (Farewell to Longing, Vienna), displaying live art inside the white cube (Performing Performance Art in South Africa, Johannesburg), and transnational connectivity of cultural heritage (Viewpoints on Folklore, London), all accompanied by exhibition catalogues.

In 2018-21, Claudia Marion Stemberger serves on the CAA’s Committee on Diversity Practices. At Duke University, she has been active on the Managing Board of the African Professional and Graduate Student Organization (DAGPSA).

Full C.V. provided on request.

Forthcoming Talk: 
“Writing Intellectual History as Art Historian”
Triangle Intellectual History Seminar
National Humanities Center, Durham, NC
Sunday March 25, 2018, 5:00-7:00p.m.


Austria (Country), Germany (Country), South Africa (Country)

Viewpoints on Folklore. Ed. CM Stemberger. Vienna and London: and Austrian Cultural Forum London, 2013. (Exhibition Catalog)

Alterating Conditions: Performing Performance Art in South Africa. Ed. CM Stemberger. Vienna and Johannesburg: and Bag Factory Artists Studios, 2012. (Exhibition Catalog)

Farewell to Longing. Figurationen von Heimat in der Gegenwartskunst. Ed. CM Stemberger and C Krejs. Vienna: Kunstraum Niederoesterreich, 2011. (Exhibition Catalog)

No more bad girls?. Ed. CM Stemberger and K Becker. Vienna: Kunsthalle Exnergasse, 2010. (Exhibition Catalog)

Stemberger, CM. "Bernadette Anzengruber." Self-Timer. Ed. F Thun-Hohenstein. Vienna and Salzburg: SCHLEBRÜGGE.EDITOR and Museum der Moderne, 2015. 108-108. (Essay)

Stemberger, CM. "South African Live Art and the Representation of its Residue: On Gabrielle Goliath's Stumbling Block." Performativity in the Gallery: Staging Interactive Encounters. Ed. O Remes, L MacCulloch, and M Leino. Oxford: Peter Lang, 2014. 221-236. (Essay)

Stemberger, CM. "Otto Klar." Allgemeines Künstlerlexikon. Die Bildenden Künstler aller Zeiten und Völker, Band 80. Keldermans - Knebel. Ed. A Beyer, B Savoy, and W Tegethoff. Berlin: De Gruyter, 2013. (Essay)

Stemberger, CM, and Exner, I. "Schwindel der Postmoderne: Zufall und Kontingenzpotenzierung in Performance und Film." ilinx - Berliner Beiträge zur Kulturwissenschaft 1 (2010): 121-140. Open Access Copy