Julie Johnson

Associate Professor, Modern and Contemporary Art History Museum Studies, Art and Art History

Julie Johnson


Ph.D. University of Chicago. Julie M. Johnson joined UTSA in 2007. She has held Fulbright and IFK residential fellowships in Vienna and was a National Endowment for the Humanities scholar during the 2020-21 academic year. She is the author of numerous essays on women artists and a book, The Memory Factory: The Forgotten Women Artists of Vienna 1900 (Purdue University Press, 2012). Courses taught: Contemporary Art, Women Artists, Gender Issues in Art, Vienna 1900, Central European Art, Art Nouveau, The Art Museum, Histories of Display, Research Methods, Themes in Contemporary Art: Suburbia and Domesticity, Surveys of Western Art, World of Vermeer (online only), and Art & the Holocaust (online only, new in F21).

Research Interests

  • Modern and Contemporary
  • Vienna 1900
  • Women Artists
  • Museum Studies


  • Ph.D. Art History, University of Chicago (1998)
  • M.A. Art History, University of Iowa (1988)

Honors and Awards

  • https://cla.umn.edu/austrian/announcement/congratulations-julie-m-johnson-winner-2020-rath-prize
  • https://www.neh.gov/news/two-utsa-art-history-faculty-members-win-coveted-neh-awards


The Memory Factory: The Forgotten Women Artists of Vienna 1900 (West Lafayette, IN: Purdue University Press, 2012) (series edited by Gary Cohen). 
Journal articles, chapters in edited volumes
“The Combinatorial Creativity of Broncia Koller-Pinell (1863-1934) and Heinrich Schröder (1881-1942): Integrating French and Viennese Modernisms”, in Broncia Koller-Pinell’s Network, Vienna Belvedere Museum of Austrian Art, forthcoming, Fall 2023.
“Between Media – Registering Practices of Knowing,” in Friedl Dicker-Brandeis Works from the Collection of the University of Applied Arts Vienna, ed Stefanie Kitzberger, Cosima Rainer, and Linda Schädler (Berlin/Boston: Walter de Gruyter, 2023), 133-151. (invited)
“Zwischen den Medien – Erkenntnismethoden erfassen,” in Friedl Dicker-Brandeis Werke aus der Sammlung der Universität für angewandte Kunst Wien, ed. Stefanie Kitzberger, Cosima Rainer, and Linda Schädler (Berlin/Boston: Walter de Gruyter, 2023), 133-151. (invited, translation of above)
“The Other Legacy of Vienna 1900: The Ars Combinatoria of Friedl Dicker-Brandeis,” 
Austrian History Yearbook 51 (2020): 243-268. 
“Painting the Margins: Tina Blau and the Spaces of Modernity,” Woman’s Art Journal Spring/Summer 2020, vol. 41, no. 1: 30-38. 
“The Silencing of the Past,” in Sabine Fellner, ed., Stadt der Frauen/City of Women, exh. cat. Belvedere, Vienna, January 25, 2019-May 19, 2019 (Munich, London and New York: Prestel, 2018), 37-50 also with translation “Getilgte Geschichte,” 31-42.  (invited) https://www.smithsonianmag.com/smart-news/belvedere-recognizes-unheralded-female-artists-early-20th-century-vienna-180971361/
“The Artist Residency: Intersections of Self and Place at Artpace,” International Review of African American Art, vol. 27, no. 1 (2018), special issue edited by Scott Sherer, pp. 2-1. 
 “Malen an der Peripherie: Tina Blau und die Räume der Moderne” (Painting the Margins: Tina Blau and the Spaces of Modernity), in Markus Fellinger and Agnes Husslein-Arco, eds., Tina Blau, Vienna: Austrian Gallery Belvedere, December 16, 2016-April 9, 2017 
‘‘The Streets of Vienna are Paved with Culture, the Streets of other Cities with Asphalt”: Museums and Material Culture in Vienna—A Comment,” Austrian History Yearbook 46 (2015), pp. 89-96.
Contributor and co-editor (with Pieter Judson), “Forum on Museums and Material Culture in Vienna,” Austrian History Yearbook 46 (2015), 29-105. 
“Women Artists and Portraiture in Vienna 1900,” in Facing the Modern: The Portrait in Vienna 1900, ed. Gemma Blackshaw. Exh. Cat. London, National Gallery of Art, October 9, 2013-January 12, 2014 (New Haven: Yale University Press, 2013), 133-154. 
“Separation and Erasure: The Fate of Women Artists in Vienna 1900,” in Women, Femininity and Public Space in European Visual Culture, 1789-1914, ed. Temma Balducci and Heather Jensen (Aldershot: Ashgate, 2014), 241-256; Rereleased as paperback by Routledge, 2017.
“The Ephemeral Museum of Old Mistresses: A Tale of Two Exhibitions,” in 100 Jahre/Years VBKÖ Festschrift, ed. Rudolfine Lackner (Vienna: Austrian Association of Women Artists, 2011), 75- 96.
“The Invisible Foremother: Rediscovering Helene Funke,” Woman’s Art Journal, vol. 29, no. 1 (Spring/Summer 2008), 33-40. 
“Theater as Therapy in the Asylum at Mauer-Öhling: The Fin-de-Siècle Realization of a Romantic Dream?,” in Rebecca Thomas, ed.,  Madness and Crime in Modern Austria: Myth, Metaphor and Cultural Realities (Newcastle upon Tyne: Cambridge Scholars Press, 2008), 196-216. Invited from conference proceedings, peer reviewed.
“Helene Funke’s Still Lifes: Looking at the Overlooked” (in German “Helene Funkes Stillleben: Ein Blick auf das Übersehene”), in Helene Funke 1869-1957, ed. Lentos Kunstmuseum Linz (May 4-September 11, 2007), 133-141. 
“Writing, Erasing, Silencing: Tina Blau and the (Woman) Artist’s Biography,” Nineteenth-Century Art Worldwide, vol. 4, no. 3 (autumn 2005). 
“The Embodied Gaze: Contemporary Art and the Museum Culture of Vienna," Blueprints for No-Man’s Land: Connections in Contemporary Austrian Culture, ed. Janet Stewart and Simon Ward (Oxford: Peter Lang, 2004), 29-56. 
*“Athena Goes to the Prater: Parodying Ancients and Moderns at the Vienna Secession,” Oxford Art Journal vol. 26, no. 2 (2003), 47-70. Double-anonymous peer-reviewed journal article
“The Return to Beauty in Contemporary Art and Art History,” in “A Place for Beauty,” eds. M. Sowder and A. Johnson, Rendezvous 36:1 (Spring 2003), pp. 1-21. 
 “From Brocades to Silks and Powders: Women's Art Exhibitions and the Formation of a Gendered Aesthetic in Fin-de-Siècle Vienna," Austrian History Yearbook 28 (Winter 1997), pp. 269-292. 
“Schminke und Frauenkunst,” Die Frauen der Wiener Moderne, ed. Lisa Fischer and Emil Brix (Vienna: Verlag für Geschichte und Politik, 1997), 167-178.