Ann-Cathrin Drews

Ann-Cathrin Drews is a Researcher at the Institute for Art and Image History at Humboldt University of Berlin, working under the Professorship for History and Theory of Form. Based in room 3.20, she can be contacted at 030.2093-66238 or ac.drews@hu-berlin.de. She holds an M.A. and is currently pursuing her doctorate on cynics and modern painting in Michel Foucault's work.

Her educational background includes studies in Art History, Philosophy, and curatorial practice at Goldsmiths College, Royal College of Art (London), and Hochschule für Gestaltung (Karlsruhe). Her bachelor's thesis examined Gilles Deleuze and Jacques Lacan's neo-baroque in contemporary art, while her master's thesis explored subjectivity and aesthetics in Foucault and Lacan's late works.

Drews' research spans Modern and Contemporary Art, Theories of Art, 19th Century French Painting, 20th Century French Image Theory, Psychoanalysis and Art, and Transcultural Art History. Her work bridges philosophy and art history with special focus on Michel Foucault, Gilles Deleuze, and Jacques Lacan. She has developed significant expertise in Indian modernism through her analyses of Stella Kramrisch's work on Abanindranath Tagore.

Her recent publications reveal a strong engagement with French philosophical thought as applied to art history, particularly examining Foucault's interpretation of painting, Deleuze and Guattari's concepts in post-war art contexts, and transcultural approaches to Indian modernism. The publications demonstrate methodological diversity spanning close reading of philosophical texts, formal analysis of artworks, and critical examination of exhibition practices.

Drews is co-editor of the German-French journal Regards croisés and has co-edited the volume Innen. Außen. Anders. Körper im Werk von Gilles Deleuze und Michel Foucault (2017). Her editorial work facilitates important academic exchange between German and French scholarly communities.

She actively participates in academic discourse through conference presentations on topics including Foucault's procedures of the visible and sayable, cynicism in art, and Deleuze and Guattari's concept of assemblages. Her current research projects explore "Matériaux bruts, lignes fuites, surfaces épaisses," Gilles Deleuze's relationship to Parisian art (1950-1980), and contemporary formalism in sculptural mise en scènes.