About

Lukas Fuchsgruber is an art historian based in Berlin, who in 2018 completed his PhD thesis about the creation of the Hôtel Drouot auction house in Paris in 1852, under the supervision of Bénédicte Savoy (the book was published in 2020 as “Das Spektakel der Auktion”). From 2011 to 2014 he worked as an author and researcher for “Art TransForm”, a German-French research project (DFG/ANR) on transnational artist formation in the nineteenth century. Since 2014 he was affiliated with the “Forum Kunst und Markt” (Centre for Art Market Studies) in Berlin, taking part in the organization of the annual workshops, coordinating the young researchers initiative and contributing to the Journal for Art Market Studies as a writer and guest editor. In 2017 he was a research fellow at the Germanisches Nationalmuseum in Nuremberg. Since 2020 he is researcher in the project “Museums and Society, Mapping the Social”, with a case study on social aspects of digitization in museums.

Education

2005 – 2012 Studies of Art History and Economics in Nuremberg and Berlin

2012 M.A. Art History and Technology of Art at TU Berlin, with a thesis on Otto Mündler

2013-2015 Member of the German-French Doctoral College “Construire les differences”

2018 PhD art history

2013-2016 Fellow of the German Academic Scholarship Foundation

2018 PhD defense. Thesis on the creation of the Hôtel Drouot auction house

Other Publications

Museumsdaten analysieren. Beispiele und Prototypen. 2022 https://museumsandsociety.net/de/news/publikationen/studentische-publikation-zu-museumsdaten

Fuchsgruber, Lukas, Image Archives in the Age of Surveillance Capitalism. In Moritz Neumüller (Hg.) The Routledge Companion to Photography, Representation and Social Justice. Routledge (forthcoming, 2023)

Fuchsgruber, Lukas, Hôtel Drouot. In: Bloomsbury Art Markets. Protagonists, Networks, Provenances. Bloomsbury (forthcoming, 2023)

Fuchsgruber, Lukas; Rossenova, Lozana und Magdalena Tyżlik-Carver, Curating/Fermenting Data: data workflows for semantic web applications. In: Adjunct Proceedings of the 2022 Nordic Human-Computer Interaction Conference, October 2022 DOI: 10.1145/3547522.3547701

Fuchsgruber, Lukas, 1986 – In der Elefanten Press Galerie eröffnet die Ausstellung ‚Weiss auf Schwarz. Kolonialismus, Apartheid und afrikanischer Widerstand‘. In: Natalie Bayer, Mark Terkessidis (Hg.): Die Postkoloniale Stadt lesen. Historische Erkundungen in Friedrichshain-Kreuzberg. Verbrecher Verlag, Berlin 2022, S. 307-316

Fuchsgruber, Lukas, Soziale virtuelle Realität als zukünftige Museumstechnologie? In: Vigia, Zeitschrift für Technologie und Gesellschaft, Bd. 1, Nr. 1, 2022

Fuchsgruber, Lukas, Das Internet als Archiv und Museum. In: Anna Schäffler, Friederike Schäfer, Nanne Buurman (Hg.), Networks of Care (nGbK 2022)

Fuchsgruber, Lukas, Writing Refractions – Glass Tagging and the Art Histories of Graffiti. In: Edward Birzin, Javier Abarca, Matthias Hübner (Hg.): TAG: name writing in public space. Possible Books, 2022

Fuchsgruber, Lukas, Digitale Vermittlung ohne Facebook und Co. kulturmanagement.net 2021 https://www.kulturmanagement.net/Themen/Social-Media-Arbeit-von-Kulturinstitutionen-Digitale-Vermittlung-ohne-Facebook-und-Co,4393

Fuchsgruber, Lukas, Welche Spiele und welche Regeln? Eine netzkritische Perspektive auf digitale Museen. In: Datenschleuder #104, 2021

Fuchsgruber, Lukas, Hôtel Drouot, in: Répertoire des acteurs du marché de l’art en France sous l’Occupation, 1940-1945, RAMA, 2021 https://agorha.inha.fr/detail/181

Fuchsgruber, Lukas, Graffiti, eine anarchische Anomalie der Kunst. In: Susanne Gramatzki (Hg.): Anarchie und Ästhetik: Fallbeispiele vom 19. Jahrhundert bis zur Gegenwart, 2021

Fuchsgruber, Lukas, Kadir “Amigo” Memiş. Opferschicht – Narben und Namen. Ein Tanzfilm über die Spuren der Unsichtbaren in der Gesellschaft. Programmzettel Theater Hebbel am Ufer (HAU Berlin) Juli 2021

Fuchsgruber, Lukas, Wissenswertes über Wertloses. Fotografien von Fälschungen im Archiv, in der Ausstellung und als Digitalisat. In: kritische berichte, 2020, S. 72-82

Fuchsgruber, Lukas, From Auction Catalogue to Museum Archive. The Role of Photographs in the Fight Against Forgeries in the Early Twentieth Century. In: Mitteilungen des Kunsthistorischen Institutes in Florenz, 1, 2020, S. 109-123

Fuchsgruber, Lukas, Museum Photo Archives and the History of the Art Market: A Digital Approach, in: Arts (MDPI), 2019 DOI: 10.3390/arts8030093

Fuchsgruber, Lukas, Berlin – Paris: Transnational Aspects of French Art Auctions in the Middle of the Nineteenth Century, in: Jan Dirk Baetens und Dries Lyna (Hg.): Art Crossing Borders The Internationalisation of the Art Market in the Age of Nation States, 1750-1914. Brill, Leiden/Boston, 2019, S. 193-219 DOI: 10.1163/9789004291997_008

Fuchsgruber, Lukas, Expertise et Circulation. Les Marchands d’Art et la Fondation de l’Hôtel Drouot, in: Hélène Ivanoff und Denise Vernerey-Laplace (Hg.): Les Artistes et leurs Galeries. Paris-Berlin, 1900-1950. Vol. I : Paris. Presses Universitaires de Rouen et du Havre (PURH), Mont-Saint-Aignan, 2019

Fuchsgruber, Lukas und Thomas Skowronek, Introduction. Art History, Art Market Studies and the Question of Theory, in: Journal for Art Market Studies, Vol. 1, Nr. 2 (2017), S. 1-4 DOI: 10.23690/jams.v1i2.17

Fuchsgruber, Lukas, The Hôtel Drouot as the stock exchange for art. Financialization of art auctions in the nineteenth century, in: Journal for Art Market Studies. Bd. 1, Nr. 1 (2017), S. 34-46 DOI: 10.23690/jams.v1i1.5

Fuchsgruber, Lukas, Mannheim, Sigismond (b Frankfurt am Main, Dec 1789; d Paris, 1 Oct 1880), in: Oxford Art Online. 2017

Fuchsgruber, Lukas, Probleme des Schreibens über Graffiti: Ökonomie der Ästhetik und Ästhetik der Ökonomie, in: Jo Preußler (Hg.): The Death of Graffiti. Berlin: Possible Books (2017), S. 44-48

Fuchsgruber, Lukas, Markt und Manipulation in der historischen Auktionshausliteratur, in: Trajectoires, hg. von Julien Beaufils, Solenn Carof, u.a., Nr. 10, 2016 http://trajectoires.revues.org/2112

Fuchsgruber, Lukas, Virtualität und Ökonomie. Ästhetische Potentiale der vernetzten Hypergraphik, in: kunsttexte.de, Themenheft: Hyperimages in zeitgenössischer Kunst und Gestaltung, hg. von Sabine Bartelsheim, Nr. 3, 2016 DOI: 10.18452/7391

Fuchsgruber, Lukas, Neue, neuere, neueste Kunstgeschichte? Wie die Wissenschaft versucht, den Kunsthandel zu „erobern“, in: HUch. Humboldt Universität collected highlights. Nr. 82 (2015) DOI: 10.17613/M6NG5R

Fuchsgruber, Lukas, „Gottlieb Biermann“, „Hugo von Blomberg“, „Karl Breitbach“, „Ludwig Burger“, „Anna Eichens“, „Felix Eugen“, „Carl Koch“, „Friedrich Kraus“, „Paul Meyerheim“, „Hermann Scherenberg“, in: Savoy/Nerlich (Hg.): Pariser Lehrjahre. Ein Lexikon zur Ausbildung deutscher Maler in der französischen Hauptstadt. Bd. II: 1844-1870, Berlin (De Gruyter) 2015

Fuchsgruber, Lukas, „Eduard Meyerheim“, „Paul Meyerheim“, in: Allgemeines Künstlerlexikon, Band 87, Berlin (De Gruyter) 2015

Fuchsgruber, Lukas, Tagungsbericht zu Les artistes et leurs galeries. Réceptions croisées. Paris-Berlin. 1900-1950 (Deutsches Forum für Kunstgeschichte, Paris, 08.12.2014). In: H-ArtHist, 04.02.2015. http://arthist.net/reviews/9396

Fuchsgruber, Lukas, Rezension von Isabelle Rouge-Ducos, Le crieur et le marteau. Histoire des commissaires-priseurs de Paris (1801-1945), Edition Belin, 2013, in: Regards croisés. Revue franco-allemande de recensions d’histoire de l’art et esthétique Deutsch-französisches Rezensionsjournal zur Kunstgeschichte und Ästhetik. Nr. 3 2015 http://www.revue-regards-croises.org/deutsch/ausgaben/no-3-2015/

Fuchsgruber, Lukas, Tagungsbericht zu Markt Macht Kultur, (Universität Heidelberg, 03.07.2015), in: H-Soz-Kult, 19.10.2015, http://www.hsozkult.de/conferencereport/id/tagungsberichte-6211

Fuchsgruber, Lukas, “Faure, (Jean-Victor) Louis”, in: Savoy/Nerlich (Hg.): Pariser Lehrjahre. Ein Lexikon zur Ausbildung deutscher Maler in der französischen Hauptstadt. Bd. I: 1793-1843, Berlin (De Gruyter) 2013, S. 73-75

Blog Posts

    Projects

    PhD (2013-2018): Art Auctions in the 19th Century. The Creation of the Hôtel Drouot and the Development of the French Art Market

    In 1852, the newly built auction house Hôtel Drouot opened its doors to the public. Here, the Association of Auctioneers organized countless sales of artworks, furniture, decorative art, fashion, and curiosities. Since 1801, this association had possessed a legally sanctioned monopoly for all public auctions – a monopoly that remained unbroken until the year 2000. Not only did the Hôtel Drouot provide a central venue for the auctions, the impressive new building also consolidated the change in the auctioneers’ role who, over the course of the first half of the nineteenth century, had both broadened the range of their competence while also improving their social standing. This is particularly evident in the newly styled art sales: now auctions of contemporary art and large, staged auctions of whole collections began to take place. Along with the founding of the auction house came an intensified engagement with the valuation of art that allows for an exact historical analysis of this discourse and is the focus of the investigation.

     

    Postdoc (2018- 2020): The archive of the „Association of Museum Officials for Defense against Fakes and Improper Business Practices“

    The project works with digital tools and towards a digital presentation of research, the core materials are archival media that the museums used, like x-rays and detail photography, as well as internal documents of expertise. The archive collects fake objects and was maintained and circulated internally by museum officials in the first half of the 20th century. This was a collaborative archive in which museums kept track of the art market. The relation between museums and the art market was often one of conflict, which becomes particularly evident with problematic objects such as forgeries.

    Postdoc (2020-2023): Digital Image Worlds

    In the context of digitization in the cultural sector, it is often assumed that new ways of access are created in the digital space. The project questions this assumption and examines the social relations that museums shape in the digital context. Interfaces are thus to be characterized as a specific contact zone of museums that produces specific inclusions and exclusions and prescribes uses. This also raises the question of alternative interfaces.

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