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Department of History of Art

Recent and Contemporary Art History and Theory


Dr Aline Guillermet received her PhD in Art History and Theory from the University of Essex in 2015. Her research interests include postwar German art, the impact of technology on contemporary painting, and digital art. Her postdoctoral research considers the impact of digital technologies on painting since the 1960s. Aline recently completed a monograph on Gerhard Richter, which considers his subversion of canonical painterly genres from the perspective of science and technology.

Aline teaches and lectures in the Department of History of Art and at the Institute of Continuing Education (ICE), University of Cambridge. 

Aline has held a Helena Rubinstein Fellowship in Critical Studies at the Whitney Museum Independent Study Program in New York (2012-13) and a Teaching Fellowship at the University of Essex (2015-16). In 2017-2019, she co-convened the Digital Art Research Network at the Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), University of Cambridge.


Twentieth century European and American art, Postwar painting, Gerhard Richter, Contemporary art, Digital Art, Media History and Theory, Computer art, Aesthetics


Key publications: 

'Vera Molnar's Computer Paintings', Representations 149, no 1 (Winter 2020): 1–30. DOI: 10.1525/rep.2020.149.1.1

'Seeing out of the Box’, in: Soft Power: Mosso, Morandi, Ziegler (Milan: Tommaso Calabro Galeria, 2019), pp. 36-38 (in English and Italian).

'K. O. Götz’s Kinetic Painting and the Imagined Affordance of Television', Media Theory 3, no. 1: 127–156. URL:

‘From Net-Art to Post-Medium: What History for the New Media?’, Critique d’art 50, (Spring/Summer 2018): 130–135 (in English and French) URL:

'Retracing Rauschenberg', Oxford Art Journal 41, no 1 (March 2018): 132–136. DOI: 10.1093/oxartj/kcx048

'Denatured Landscape and Urban Pastorals', in: Joseph Hage and Hans Ulrich Obrist (eds), Gerhard Richter. The Overpainted Photographs. A Comprehensive Catalogue, Volume 1: Essays, pp. 35-40 (limited print run for the artist, n.d.)

'"Painting like nature": Chance and the Landscape in Gerhard Richter’s Overpainted Photographs’, Art History 40, no 1 (February 2017): 178–199. DOI: 10.1111/1467-8365.12225

'Memory, Forgetting and the Representation of History in Gerhard Richter’s “18 October 1977”'/ “Le souvenir, l’oubli et la représentation de l’histoire dans le cycle du « 18 octobre 1977 » de Gerhard Richter”, in: Mathilde Arnoux and Clément Layet (eds.), homepage of the project OwnReality, 2017. (In English and French). URL:


College Teaching Officer, King's College
 Dr Aline Guillermet