Anselm Kiefer: Remembering, Repeating, and Working Through the Past
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Jerusalem As Trauerarbeit on Two Paintings by Anselm Kiefer and Gerhard Richter
Jerusalem as Trauerarbeit 59 Chapter 3 Jerusalem as Trauerarbeit On Two Paintings by Anselm Kiefer and Gerhard Richter Wouter Weijers In 1986, Anselm Kiefer produced a painting he entitled Jerusalem (Fig. 3.1). It is a large and heavy work measuring approximately thirteen by eighteen feet. When viewed up close, the surface is reminiscent of abstract Matter Painting. Liquid lead was applied, left to solidify and then scraped off again in places, ripping the work’s skin. When the work is viewed from a distance, a high hori- zon with a golden glow shining over its centre appears, which, partly due to the title, could be interpreted as a reference to a heavenly Jerusalem. Two metal skis are attached to the surface, which, as Fremdkörper, do not enter into any kind of structural or visual relationship with the painting Eleven years later, Gerhard Richter painted a much smaller work that, although it was also given the title Jerusalem, was of a very different order (Fig. 3.2). The painting shows us a view of a sun-lit city. But again Jerusalem is hardly recognizable because Richter has let the city dissolve in a hazy atmo- sphere, which is, in effect, the result of a painting technique using a fine, dry brush in paint that has not yet completely dried. It is the title that identifies the city. Insiders might be able to recognize the western wall of the old city in the lit-up strip just below the horizon, but otherwise all of the buildings have dis- appeared in the haze. -
85 Jahre Wuppertal Stadtchronik 1929-2014
1 Hinrich Heyken 85 Jahre Wuppertal Stadtchronik 1929-2014 2 Vorwort: Zur Arbeit mit der Chronik 1. Aufbau der Datei Eine Chronik folgt der zeitlichen Reihenfolge der Ereignisse. Hier sind eine Vielzahl unterschiedli- cher Ereignisse chronologisch sortiert: die Planung von wichtigen Vorhaben, Entscheidungen im Rat der Stadt, die jeweiligen Entscheider (Oberbürgermeister, Oberstadtdirektoren, Dezernenten), die Durchführung von Projekten; soziale, wirtschaftliche, kulturelle und siedlungsstrukturelle Ereig- nisse sind einem konkreten Datum zugeordnet und – soweit verfügbar – mit zusätzlichen Informatio- nen versehen. Auf Zusammenhänge von bestimmten Ereignissen wird durch die Angabe eines in spitze Klammern gesetztes zurückliegendes oder zukünftiges Datum hingewiesen <Datum>. Damit können z.B. die großen Projekte der Stadt wie Planung und Bau der B 7 (1939 – 1972), der „Nördli- chen Umgehungsstraße“ B 326/A46 (1936 – 1974), der Bau des Wuppersammlers (1990 – 2001), die Erneuerung der Schwebebahn (1995 – 2014), der Umbau des Döppersberges (1997 – 2017?) in ihrem Zeitablauf verfolgt werden. Um zu einem Ereignis zu kommen, gibt es mehrere Möglichkeiten. Ist das Datum (oder mindestens der engere Zeitraum) bekannt, können die Seiten bis zum gesuchten Zeitpunkt/Zeitraum herunter gescrollt werden. Es kann auch die Suchfunktion genutzt werden mit der Eingabe eines Begriffes, der vermutlich im Text des Ereignisses vorkommt. Häufig werden dann mehrere Ereignisse angegeben, in denen das Suchwort vorkommt. Sie können dann der Reihe nach durchgeklickt werden, bis das gesuchte Er- eignis gefunden ist. Sucht man z.B. ein bestimmtes Ereignis zum Bau der B 7 nach dem Krieg, so könnte der Suchbegriff Talstraße (62 Nennungen) oder B 7 (23 x) oder Bundesallee (nach der Na- mensgebung 1960 noch 25 x) eingegeben werden, die durch zu klicken wären. -
The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Fall 1-5-2021 The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 Denali Elizabeth Kemper CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/661 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The Fate of National Socialist Visual Culture: Iconoclasm, Censorship, and Preservation in Germany, 1945–2020 By Denali Elizabeth Kemper Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History, Hunter College The City University of New York 2020 Thesis sponsor: January 5, 2021____ Emily Braun_________________________ Date Signature January 5, 2021____ Joachim Pissarro______________________ Date Signature Table of Contents Acronyms i List of Illustrations ii Introduction 1 Chapter 1: Points of Reckoning 14 Chapter 2: The Generational Shift 41 Chapter 3: The Return of the Repressed 63 Chapter 4: The Power of Nazi Images 74 Bibliography 93 Illustrations 101 i Acronyms CCP = Central Collecting Points FRG = Federal Republic of Germany, West Germany GDK = Grosse Deutsche Kunstaustellung (Great German Art Exhibitions) GDR = German Democratic Republic, East Germany HDK = Haus der Deutschen Kunst (House of German Art) MFAA = Monuments, Fine Arts, and Archives Program NSDAP = Nationalsozialistische Deutsche Arbeiterpartei (National Socialist German Worker’s or Nazi Party) SS = Schutzstaffel, a former paramilitary organization in Nazi Germany ii List of Illustrations Figure 1: Anonymous photographer. -
Anselm Kiefer Bibliography
G A G O S I A N Anselm Kiefer Bibliography Selected Books and Catalogues: 2020 Dermutz, Klaus. Anselm Kiefer: Superstrings, Runes, The Norns, Gordian Knot. London: White Cube. 2019 Adriani, Götz. Baselitz, Richter, Polke, Kiefer: The Early Years of the Old Masters. Dresden: Michel Sandstein. Cohn, Daniele. Anselm Kiefer: Studios. Paris: Flammarion. Trepesch, Christof. Anselm Kiefer aus der Sammlung Walter (Augsburg, Germany: Kunstmuseum Walter. Dermutz, Klaus. Anselm Kiefer in Conversation with Klaus Dermutz. London: Seagull Books. Granero, Natalia, Götz Adriani, Jean-Max Colard, Anselm Kiefer, Gunnar B. Kvaran and Rainer Michael Mason. Anselm Kiefer - Livres et xylographies. Montricher: Fondation Jan Michalski pour l’écriture et la littérature, Oslo: Astrup Fearnley Museet. Chauveau, Marc and Anselm Kiefer. Anselm Kiefer à La Tourette. Paris: Bernard Chauveau Édition; New York: Gagosian, English edition, 2020. Baume, Nicholas, Richard Calvocoressi and Anselm Kiefer. Uraeus. New York: Gagosian. 2018 Amadasi, Giovanna, Matthew Biro, Massimo Cacciari, Gabriele Guercio. Anselm Kiefer: The Seven Heavenly Palaces. Milano: Pirelli HangarBiccoca and Mousse Publishing. Bastian, Heiner. Anselm Kiefer: Bilder / Paintings. Munich: Schirmer/Mosel. Kiefer, Anselm. Anselm Kiefer: Für Andrea Emo. Pantin/Paris: Galerie Thaddaeus Ropac. 2017 Chevillot, Chaterine, Sophie Blass-Fabiani, Véronique Mattiussi, Sylvie Patry, and Hélène Marraud. Kiefer-Rodin. Paris: Editions Gallimard. Knausgaard, Karl Ove, James Lawrence and Louisa Buck. Anselm Kiefer: Transition from Cool to Warm. New York: Rizzoli & Gagosian. Czeczot, Ivan, Klaus Dermutz, Dimitri Ozerkov, Mikhail Piotrovsky, Peter Sloterdijk. Anselm Kiefer: For Velimir Khlebnikov, Fates of Nations. St. Petersburg: The State Hermitage Museum. Stonard, Jean-Paul. Anselm Kiefer: Walhalla. London: White Cube. Clearwater, Bonnie, Norman Rosenthal and Joseph Thompson. -
ANSELM KIEFER | BOOKS and WOODCUTS 8 February to 12 May 2019
PRESS RELEASE Exhibition at the Jan Michalski Foundation for Writing and Literature: ANSELM KIEFER | BOOKS AND WOODCUTS 8 February to 12 May 2019 The German artist Anselm Kiefer (*1945, Donaueschingen) long hesitated between two practices, writing and painting. Although it was the latter he eventually chose, literature continues to play a preponderant role in his body of work. Through their materiality and esthetic, books were the first support for his artmaking, and writing every day in a journal has enabled the artist to reflect on his work and to engage in research that is closely connected with his thinking. In his early book production, which he began in 1968-1969, Anselm Kiefer was sizing up certain schools of art like De Stijl, Suprematism, and Minimalism. At the same time he continued with his work on German history and culture as an antidote to the trauma experienced by his and subsequent generations after the Second World War but also, more simply, as an artistic exploration of himself and his roots. Photography is often seen in the early books, but these already show the growing prevalence of drawing and watercolour, along with the appearance of materials like sand, pages clipped from magazines, hair, dried flowers, and miscellaneous objects. These unwritten volumes are designed like artist’s books, single copies, and serve at first as a place where Anselm Kiefer expressed ideas, associations and thoughts, the subsequent tomes quickly became a place for exploration in which the succession of pages made it possible to construct a narrative and situate it in time. The subjects elaborated there were then rescaled within the body of work as a whole, notably in his output of woodcuts. -
Neo-Expressionism
QUICK VIEW: Synopsis Many artists have practiced and revived aspects of the original Expressionism movement since its decline in the 1920s. But the most famous return to Expressionism was inaugurated by Georg Baselitz, who led a revival which dominated German art in the 1970s. By the 1980s, this resurgence had become part of an international return to painting, in which very different artists, from Julian Schnabel and Francesco Clemente to Jean-Michel Basquiat, turned in expressionistic, primitivist and romantic directions to create work which delved into history and myth, and affirmed the redemptive power of art. Key Points • In Germany the return to Expressionism was part of a more general shift in society towards addressing the country's troubled modern history. In connecting with a style that pre-dated WWII, artists such as Georg Baselitz, Eugen Schonebeck and Markus Lupertz seemed to be trying to overcome the legacy of the Nazis. • Supporters of Neo-Expressionism, and the larger return to painting in the 1980s, argued that Conceptual Art, Minimalism, and Pop had neglected art's ability to activate the imagination, to invent myth, and to give vent to human emotion. However, some critics charged Neo-Expressionism with pandering to right wing politics and the tastes of the art market. • Taking their lead from German Neo-Expressionists, who turned inward to examine national themes, many other painters of the 1980s revived national styles. In Italy, in particular, artists associated with the Trans-avantguardia movement, such as Sandro Chia and Enzo Cucci, returned to the type work done by Italian painters of the 1920s and '30s. -
German History Reflected
The Detlev Rohwedder Building German history reflected GFE = 1/2 Formathöhe The Detlev Rohwedder Building German history reflected Contents 3 Introduction 44 Reunification and Change 46 The euphoria of unity 4 The Reich Aviation Ministry 48 A tainted place 50 The Treuhandanstalt 6 Inception 53 The architecture of reunification 10 The nerve centre of power 56 In conversation with 14 Courage to resist: the Rote Kapelle Hans-Michael Meyer-Sebastian 18 Architecture under the Nazis 58 The Federal Ministry of Finance 22 The House of Ministries 60 A living place today 24 The changing face of a colossus 64 Experiencing and creating history 28 The government clashes with the people 66 How do you feel about working in this building? 32 Socialist aspirations meet social reality 69 A stroll along Wilhelmstrasse 34 Isolation and separation 36 Escape from the state 38 New paths and a dead-end 72 Chronicle of the Detlev Rohwedder Building 40 Architecture after the war – 77 Further reading a building is transformed 79 Imprint 42 In conversation with Jürgen Dröse 2 Contents Introduction The Detlev Rohwedder Building, home to Germany’s the House of Ministries, foreshadowing the country- Federal Ministry of Finance since 1999, bears wide uprising on 17 June. Eight years later, the Berlin witness to the upheavals of recent German history Wall began to cast its shadow just a few steps away. like almost no other structure. After reunification, the Treuhandanstalt, the body Constructed as the Reich Aviation Ministry, the charged with the GDR’s financial liquidation, moved vast site was the nerve centre of power under into the building. -
Dick Polich in Art History
ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship. -
United States
Cultural Policy and Political Oppression: Nazi Architecture and the Development of SS Forced Labor Concentration Camps* Paul B. Jaskot Beyond its use as propaganda, art was thoroughly integrated into the implementation of Nazi state and party policies. Because artistic and political goals were integrated, art was not only subject to repressive policies but also in turn influenced the formulation of those very repressive measures. In the Third Reich, art policy was increasingly authoritarian in character; however, art production also became one means by which other authoritarian institutions could develop their ability to oppress. The Problem We can analyze the particular political function of art by looking at the interest of the SS in orienting its forced labor operations to the monumental building economy. The SS control of forced labor concentration camps after 1936 linked state architectural policy to the political function of incarcerating and punishing perceived enemies of National Socialist Germany.1 The specific example of the Nuremberg Reich Party Rally Grounds reveals three key aspects of this SS process of adaptation. The first aspect is the relationship between architectural decisions at Nuremberg and developments in the German building economy during the early war years. Before the turning tide of the war led to a cessation of work at the site, agencies and firms involved with the design and construction of the Nuremberg buildings secured a steady and profitable supply of work as a result of Hitler’s emphasis on a few large architectural projects. The second aspect focuses on how the SS quarrying enterprises in the forced labor concentration camps were comparable to their private-sector competitors. -
Georg Baselitz
CONTEMPORARY FINE ARTS BERLIN Hommage à GEORG BASELITZ Directed by SIEGFRIED GOHR Baselitz provided the decisive impulse: Ferdinand von Rayski, a of the words and terms used, Baselitz established a inventions were met with very little response at the time prominent landscape and portrait painter. The Dresdner linguistic possibility to provoke or instruct the public, of their creation. But with his fictive heroes or “new Splinters Galerie offered the inspiration for Baselitz. Indeed, the who paid increasing attention to him over the years. guys,” Baselitz found formulations for the discomfort choice for his artistic point of departure right in the that registered with alert artists and writers, despite middle of the Saxon 19th century must have seemed Divisions the glittering consumerist surface of West Germany. strange and perhaps even arrogant. But Baselitz found There is so much literature about Berlin as the During these years, which seemed to be without history, himself isolated and lonely in the West. Hann Trier gave frontline between East and West after Germany’s paintings like these visualized what had been suppressed The Armchair the young man from the East reading recommendations. division in 1961 that it could fill a sizable library. in the German situation between the Third Reich, In Georg Baselitz’s studio there is an old, clearly worn Baselitz’s reaction to choose other outsiders as his allies The works of visual art on the Berlin situation are division, and the future. The modern painter cannot leather armchair. A blanket protects it from aging too was, then, understandable and, from his perspective, equally numerous — they could fill a museum. -
German Memory of the Holocaust: the Emergence of Counter-Memorials," Penn History Review: Vol
Penn History Review Volume 17 Issue 2 Spring 2010 Article 3 May 2010 German Memory of the Holocaust: The Emergence of Counter- Memorials Cecily Harris University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/phr Recommended Citation Harris, Cecily (2010) "German Memory of the Holocaust: The Emergence of Counter-Memorials," Penn History Review: Vol. 17 : Iss. 2 , Article 3. Available at: https://repository.upenn.edu/phr/vol17/iss2/3 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/phr/vol17/iss2/3 For more information, please contact [email protected]. 34 GERMAN MEMORY OF THE HOLOCAUST THE EMERGENCE OF COUNTER -M EMORIALS Cecily Harris Germany faces what would seem like an insuperable difficulty in attempting to memorialize the Holocaust; how can the nation that perpetrated the largest and most systematic mass murder in modern history a mere sixty years ago honor the dead , and at the same time publicly assume the burden of guilt without disrupting all the con - ventions of public memorials. What exactly is such a state to com - memorate, and how do present day German artists show the answer to that question in the aesthetic and ethical gestures of their memo - rial forms? Stuck in a seemingly endless cycle of remembering, re - nouncing, regretting, and redeeming, the artists, statesmen , and citizens of today’s Germany lack even a first-hand memory on which they might draw to express both their shame and their wish to purge it. Haunted by the crimes of their not so distant forebears, Germans have been struggling for the past sixty years to depict this ghost, to show the weight of its burden on them, and to show as well their deep remorse for crimes they themselves did not commit but by which they feel tainted, and through which the world often views them. -
Bulletin of the GHI Washington Supplement 2 (2005)
Bulletin of the GHI Washington Supplement 2 (2005) Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online- Publikationsplattform der Max Weber Stiftung – Stiftung Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat urheberrechtlich geschützt ist. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Eine darüber hinausgehende unerlaubte Verwendung, Reproduktion oder Weitergabe einzelner Inhalte oder Bilder können sowohl zivil- als auch strafrechtlich verfolgt werden. “GERMANIC”STRUCTURE VERSUS “AMERICAN” TEXTURE IN GERMAN HIGH-RISE BUILDING Adrian von Buttlar A few weeks after the unification of the two Germanies, the Frankfurter Allgemeine Zeitung published a supplement which presented architectural visions for Germany’s future capital sketched by international star- architects. Most imagined a new scale, a skyline represented by sky- scrapers. But, in reality, the “master plan” for Berlin developed over the last decade aims instead at the reconstruction of the city’s historic (sev- enteenth- to nineteenth-century) ground plan and restricts the height of new buildings to the traditional measure of twenty-two meters. Since reunification, only a few modest-scale high-rise buildings have been built, on the Potsdamer Platz. A few more are to be added here and there, to keep up a little