Dr. Anna Grasskamp is Research Assistant Professor at Hong Kong Baptist University’s Academy of Visual Arts (AVA) and Associate Member of the Cluster of Excellence Asia and Europe in a Global Context at Heidelberg University. Before joining AVA in 2016, she was post-doctoral fellow at Cluster of Excellence Asia and Europe in a Global Context at Heidelberg University from 2013 to 2016. In 2013, Anna Grasskamp received a PhD from Leiden University, where she held a grant by the Hulsewé-Wazniewski Foundation for the advancement of teaching and research in the archaeology, art and material culture of China at Leiden University from 2009 to 2013.
In addition to her positions in Heidelberg and Hong Kong, Anna Grasskamp was visiting postdoctoral fellow at Max Planck Institute for the History of Science, Berlin (July and August 2015), fellow of the International Institute for Asian Studies at Leiden University (February – July 2017) and fellow at Herzog August Bibliothek, Wolfenbüttel (August 2017).
Anna Grasskamp is Principal Investigator of the RGC-funded project Ocean Objects: Maritime Material Culture in Southern China from a Global Perspective (GRF 12603017).
Anna Grasskamp’s research focuses on artistic exchanges between China and Europe in visual and material culture. While her previous work investigated transcultural framing strategies her current interest lies in the study of maritime material culture in a global context during the early modern period.
“Spirals and Shells: Breasted Vessels in Sixteenth-Century Nuremberg,” Res: Anthropology and aesthetics 67/68 (2016/17): 146-163.
“框架自然：從清宮中的三件珊瑚藝品論起 [Framing Nature: Three Coral Objects from the Qing Imperial Collections in Context],” Gugong Wenwu Yuekan 399, June 2016: 108-117.
“We Call Them ‘Ginger Jars’: European Re-framings of Chinese Ceramic Containers,” Vormen uit Vuur 232 (3), forthcoming October 2016: 64-71. Co-authored by Wu Wen-ting.
“EurAsian Layers: Netherlandish Surfaces and Early Modern Chinese Artefacts,” The Rijksmuseum Bulletin 63 (4), 2015: 363-98.
Anna Grasskamp (first author), Annette Löseke (second author), “Asia in Your Window Frame: Museum Displays, Window Curators and Dutch-Asian Material Culture,” World Art 5 (2), 2015: 223-248.
“Frames of Appropriation: Foreign Artifacts on Display in Early Modern Europe and China,” in Qing Encounters: Artistic Exchanges between China and the West, eds P. ten Doesschate Chu and Ding Ning (Los Angeles: Getty Publications, 2015), 29-42.
“Transcultural Margins: Pictorial Framing Strategies in Sino-European Print Culture, 1580-1680,” in FRAMINGS, eds E. Harlizius-Klück, S. Kacunko and H. Körner (Berlin: Logos Verlag, 2015), 421-444.
[Exhibition Review] “Hungry Ghosts meet Ming Bling: Re-Framing 50 Years in the Life of an Empire,” International Institute for Asian Studies Newsletter 70, 2015: 42.
Annette Löseke (first author), Anna Grasskamp (second author), “Framing ‘Asia’: Results from a Visitor Study at the Rijksmuseum’s Asian Pavilion,” Aziatische Kunst 44 (2), 2014: 49-55.
“Metamorphose in Rot: Die Inszenierung von Korallenfragmenten in Kunstkammern des 16. und 17. Jahrhunderts” [Metamorphosis in Red: The Staging of Coral Fragments in German Collections of the 16th and 17th Century], Tierstudien 4, 2013: 13-23.
[Conference Report] “Living Legacies. The History of East Asian Art Reconsidered” (Heidelberg7/2010), International Institute for Asian Studies Newsletter 55, 2010: 42.
Anna Grasskamp’s Ph.D. dissertation Cultivated Curiosities: A Comparative Study of Chinese Artifacts in European Kunstkammern and European Objects in Chinese Elite Collections, (Leiden University, 2013) received a short-list nomination for the Jan van Gelderprijs 2014.
Since art constantly crosses borders, teaching Art History means to take intercultural exchanges into account, thereby challenging prior monocultural paradigms of art historical teaching. In particular, the histories of collecting and display provide useful frameworks in this regard, allowing us to bring to bear a combination of socio-cultural and anthropological perspectives with the study of artifacts, acknowledging the importance of global networks as related to locally defined systems of aesthetic appreciation.