TEACHING

Hanna has taught the material histories and theories of art and conservation as well as histories of media and technology at the Bern University of the Arts (2018-); University College London (2016-22), Bard Graduate Center in New York (2013-15) and the University of Amsterdam (2009-2013).

At HKB | Bern University of the Arts, Hanna teaches Y-modules convened by the Y Institute, on topics ranging from art theory and history, visual studies, media studies, heritage studies and conservation. She also supervises PhD and MA theses.

At UCL Department of History of Art, she has taught the following modules: Intermedia: Art and Materiality in the 1960s and 70s (MA), Theory and History of Conservation (BA), Methodologies of Making (BA), and Methods and Materials of the Artist I & II (BA) and has organized a work placement module Art/Work/Spaces. She has also regularly contributed to the MA Core and BA Foundation courses. At Bard Graduate Center, Hanna taught MA courses: Cultures of Conservation I&II, Beyond the Object Principle, Revisions and facilitated self-study learning.

Outside her core teaching activities, Hanna has given invited lectures, among others, at Columbia University, New York University, University of Glasgow, Bern University, University of Rio de Janeiro and other universities in Europe, Great Britain, the United States and Brazil. She has provided theoretical seminars in the core curriculum of the Institute for Land and Environmental Art in Tenna, Switzerland.

Hanna has contributed regularly to the Summer Institute for Technical Studies in Art (SITSA), a doctoral school at the Harvard Art Museums, Harvard University.

ADVISING

Hanna has advised and examined PhD and MA students in Switzerland, the UK and the US. She is currently an advisor to several doctoral candidates on topics ranging from new materialism, critical heritage studies, discard studies, experimental museology and conservation. She welcomes informal inquiries about studying for a PhD in any of the areas of her research interests. She is especially interested in supervising research that would illuminate new directions in scholarship situated on the intersection of art theory, heritage studies, material culture studies and the theory of conservation. This might involve projects engaged in a reflective approach to new materialisms, experimental preservation and museology, critical heritage studies and the historiography and philosophy of conservation.