The HGSCEA Board is soliciting proposals from members for its sponsored ninety-minute session at the annual conference in February 2022, taking place in Chicago. The proposed session may be on any topic having to do with German, Scandinavian, or Central European art, architecture, design, or visual culture of any period; sessions focusing on theory, criticism, or historiography are also welcome. Proposals may be geographically and chronologically tightly focused or broadly defined. They may be for complete sessions, in which case the names of participants should be included, or for sessions soliciting contributors. To see the topics of recent HGSCEA sessions, go to: http://hgscea.org/hgcea-at-caa/ and http://hgscea.org/hgcea-at-caa-archive/
The proposal should consist of a brief letter indicating interest and expertise, a description of the topic (no longer than 300 words), and a condensed c.v. (no longer than three pages). These materials should be submitted electronically to Jenny Anger (firstname.lastname@example.org) no later than February 7, 2021. Notification of the Board’s decision will be sent in March.
I hope this finds you all as well as one can be in these days.
At a recent meeting on Zoom, the Board considered hosting some sort of virtual happy hour in lieu of our annual dinner and reception in conjunction with remote CAA, but decided that another large remote meeting was the last thing that people would want to attend, and that even if they did there would be no way to approach the buzz of numerous small conversations and the energizing conviviality that we all have when we’re in the same room together. Hence, instead of the usual presidential oration, I’m writing this note to let you know about a few things.
To begin, that recent meeting of the Board was primarily devoted to a discussion of the Emerging Scholars Publication Prize for 2020, the ninth iteration of the competition. As always, the pool of submissions was outstanding, ranging from early medieval to contemporary, from runestones and reliquaries to intarsia and photography, from Scandinavia to Austria and from Poland to Paris. The strength of the publications that were submitted bodes well for the future of the discipline in general, the study of German, Scandinavian, and Central European art, and our affiliated society in particular. At the same time, this wealth of scholarly quality and critical acuity posed yet again a challenge for the Board in its capacity as jury. But, after long deliberation and debate, the Board took a vote to determine the result. I am delighted to report that the winner of this year’s prize is Aleksander Musiał’s (Princeton) article “Mentem mortalia tangent – Fragments and Fetishes in Puławy Landscape Garden (1794-1831),” which appeared in the Oxford Art Journal. An honorable mention was awarded to Jordan Troeller (Universität Graz) for “Lucia Moholy’s Idle Hands,” in October. On behalf of the Board, I wish to congratulate both of these colleagues!
As always, a substantial number of HGSCEA’s members are presenting papers or have organized sessions at this year’s annual conference. HGSCEA’s sponsored session, which was proposed and organized by Eva Forgacs (Art Center College of Design) and is entitled “Between Point Zero and the Iron Curtain: International Cooperation in Art, 1945-1948,” brings together papers by Anna Jozefacka (Hunter College), Lauren Elizabeth Hanson, Lynette Roth (both Harvard Art Museums), and Petra Skarupsky (University of Warsaw), with a commentary by Barbara Jaffee (Northern Illinois University). Thanks go to the organizers and all of the participants for persevering in the face of uncertainty and concerns about the new process, and for realizing yet another great session. The pre-recorded papers are, or will be, accessible to those who have registered for the conference. The live Q&A with the authors and organizers will take place on the conference site on Friday, February 12, from 12-12:30 p.m. (US, EST).
In addition, the Board will hold its annual business meeting remotely on Zoom on Wednesday, February 10, from 7-8:30 p.m. (US, EST). If you would like to attend the first, public part of the meeting, please send me an email to let me know and I will send you the invitation to the meeting.
Finally, the Board thought it was important to offer HGSCEA’s membership a special event akin to those that have taken place at recent annual conferences. HGSCEA member Adrian Sudhalter and MoMA curator Jodi Hauptman have generously offered to host a remote curator’s tour through their exhibition “Engineer, Agitator, Constructor: The Artist Reinvented, 1918–1939,” currently on view at MoMA. The exhibition traverses much of HGSCEA’s geographic terrain and numerous HGSCEA members contributed to the catalogue. The succinct virtual tour through the galleries, will leave plenty of time for questions and discussion. The event is scheduled to take place on Friday, March 5, starting at 7 p.m. (US, EST). Mark your calendars! More details on how to participate will be announced soon.
That’s all there is to report for now. I already miss the annual dinner, and the pleasure of seeing so many friends! I look forward to 2022 in the hope that we can once again enjoy together a delicious meal, good wine, and great company.
Until then, stay well and be safe!
Wishing you all the best,
Jim van Dyke
HGSCEA Session at CAA 2021
Between Point Zero and the Iron Curtain: International Cooperation in Art, 1945-1948
Chair Eva Forgacs Art Center College of Design
The period between 1945-1948 was one of great hopes and initiatives to culturally reunite the war-torn European continent and the world. The 1945 Yalta Conference issued the Declaration of Liberated Europe promising the European nations “to create democratic institutions of their own choice,” while Stalin would increase Soviet influence in Eastern Europe and by 1949, an ‘iron curtain’ would descend, cutting the region off from the Western half of the continent and the world, placing it under Soviet rule. After the war, many artists in Europe pursued a new, united, internationally open European art and culture. The Stedelijk Museum in Amsterdam, the Salon des Réalités Nouvelles in Paris, the “European School” in Budapest, worked on reestablishing continuity with interwar modernism as well as supporting nascent postwar art. The international CoBrA group was one of the first to reach out to such Eastern European artists as the Czech “Ra” group, hoping to develop further contacts. Papers discussing the apparently wide open possibilities of the post-World War II period internationally, or within the boundaries of any one country, are invited to discuss this chapter of art history, when the recovery of pre-World War II modernism and the fostering a new internationalism was a worldwide effort, anticipating the global, international culture of the late twentieth and early twenty-first centuries.
Wednesday, February 12, from 10:30 to 12:00, Williford B (Hilton, 3rd Floor)
Kara Charles Felt (National Gallery of Art), “Alice Schalek: Finding the Neue Frau in 1920s Japan”
Alyssa Bralower (University of Illinois at Urbana-Champaign), “The Making of a Zionist City: Ellen Auerbach’s Short Film Tel Aviv, 1933-36”
Kim D. Sichel (Boston University), “German Typologies Confront French Immersion in Africa: The Ethnographic Photographs of Lotte Errell, Ilse Steinhoff, Thérèse Rivière, and Germaine Tillion”
Elisaveta Dvorakk (Humboldt University), “Annemarie Schwarzenbach’s Photographic Reports in Afghanistan, 1939-40: The Strategy of Metonymy in the Context of Contemporary ‘Orient Photography’
The Annual Business Meeting this year will take place at CAA’s annual conference in Chicago on Wednesday, February 12, from 12:30 to 1:30 pm in Williford A at the Hilton.
Special viewing in the Department of Prints and Drawings at the AICon Friday morning at 10:30 a.m. organized by Jay Clarke, Curator of Prints and Drawings at the Art Institute of Chicago and a former HGSCEA officer. She will pull out some “greatest hits” prints and drawings from the AIC’s holdings of Scandinavian, German, and Central European art for viewing and discussion. The room can accommodate around 20 people so RSVP to Jay (email@example.com) if you would like to take part. The sign up will be first come, first served.
HGSCEA’sannual dinner-reception, complimentary to members. This year the dinner will take place on Thursday, February 13, from 7 to 9:30 p.m. at Bistronomic (840 N. Wabash Ave). If you plan to attend, RSVP to me (firstname.lastname@example.org) by 5 February.
President: Rose-Carol Washton Long Treasurer: Charles Haxthausen Secretary: Reinhold Heller Newsletter Editor: Peter Chametzky Board: Rosemarie Bletter, Walter Cahn, Steven Mansbach, Joan Weinstei
February 1999 – February 2001
President: Rose-Carol Washton Long Treasurer: Reinhold Heller Secretary: Charles Haxthausen Newsletter Editor: Peter Chametzky Board: Walter Cahn, François Forster-Hahn, Maria Makela, Steven Mansbach
February 2001 – February 2003 and February 2003 – February 2005
President: Steven Mansbach Treasurer: Rose-Carol Washton Long Secretary: Maria Makela Newsletter Editor: Peter Chametzky Board: Tim Benson, Françoise Forster-Hahn, Reinhold Heller, Thomas DaCosta Kaufmann
February 2005 – February 2008
President: Peter Chametzky Treasurer: Rose-Carol Washton Long Secretary: Marsha Morton Newsletter/Website Editor: Anna Brzyski Board: Stephanie D’Alessandro, Tim Benson, Éva Forgács, Thomas DaCosta Kaufmann
February 2008 – February 2011
President: Peter Chametzky Treasurer: Rose-Carol Washton Long Secretary: Marsha Morton Newsletter/Website Editor: Anna Brzyski Board: Tim Benson, Éva Forgács, Barbara McCloskey, Mitchell Merback
February 2011 – February 2014
President: Marsha Morton Treasurer: Rose-Carol Washton Long Secretary: Éva Forgács Webmaster: Emily Pugh Board: Jay Clarke, James van Dyke, Keith Holz, Juliet Koss
February 2014 – February 2017
President: Marsha Morton Treasurer: James van Dyke Secretary: Jay Clarke Website Manager: Elizabeth Cronin Board: Keith Holz, Karla Huebner, Juliet Koss, Libby Otto
February 2017 – February 2020
President: James van Dyke Treasurer: Marsha Morton Secretary: Juliet Koss Webmaster: Morgan Ridler Board: Kathleen Chapman, Karla Huebner, Jeffrey Saletnik, Adrian Sudhalter
Historians of German, Scandinavian and Central European Art, or HGSCEA, is an affiliated society of the College Art Association. It was founded in 1997 to foster study of visual and material culture of Central Europe and enhance communication and cooperation among scholars working on the art and architecture of the region. The society publishes regular updates of member news and activities, events and news items of interest to HGSCEA members on this website. HGSCEA also sponsors a session at the annual CAA conference, as well as organizes and supports scholarly endeavors and events focused on Central European topics. The society’s members include American and European scholars (affiliated and independent) and graduate students.
Aaron Hyman, “The Habsburg Re-Making of the East at Schloss Schönbrunn, ‘or Things Equally Absurd’,” in The Art Bulletin vol. 101, no. 4 (2019): 39-69.
Hannah Shaw, “The Trouble with the Censorship of August Sander’s Antlitz der Zeit,” in PhotoResearcher no. 31 (2019): 193-206.
Kristin Schroeder, “A New Objectivity: Fashionable Surfaces in Lotte Laserstein’s New Woman Pictures,” in The Art Bulletin. vol. 101, no. 4 (2019): 95-116.
Gregory Bryda, “The Exuding Wood of the Cross at Isenheim” in The Art Bulletin vol,100, no. 2 (June 2018): 6-36.
Anne. Reimers, “Inscribing Temporality, Containing Fashion: Otto Dix’s Portrait Of The Dancer Anita Berber Recontextualized”. Art History vol. 41, no. 4 (September 2018): 680-709.
Kerry Greaves, “Thirteen Artists in a Tent: Avant-Garde Exhibition Practice in World War II Denmark.” Dada/Surrealism 21, no. 1 (2017): 1-23.
Tomasz Grusiecki, “Foreign as Native: Baltic Amber in Florence.” World Art 7, no. 1 (2017): 3-36.
Morgan Ng, “Toward a Cultural Ecology of Architectural Glass in Early Modern Northern Europe,” Art History 40, no. 3 (2017): 496-525.
Shira Brisman, “Relay and Delay: Dürer’s Triumphal Chariots in the Era of the Post,” Art History vol. 39, no. 3 (June 2016): 436-65
Michael Sanchez, “A Logistical Inversion: From Konrad Lueg to Konrad Fischer,” Grey Room 63 (Spring 2016): 6-41
Priyanka Basu, “Between Preservation and Destruction: Bernd and Hilla Becher’s Archive of ‘Anonymous Sculpture,’ ” in Edinburgh German Yearbook 9: Archive and Memory in German-Language Literature and Culture, ed. Dora Osborne. Rochester, NY: Camden House, 2015, 23-43
Joyce Tsai, “Lines of Sight: László Moholy-Nagy and the Optics of Military Surveillance,” Artforum 54:3 (November 2015): 272-78
Adam Jasienski, “A Savage Magnificence: Ottomanizing Fashion and the Politics of Display in Early Modern East-Central Europe,” Muqarnas: An Annual on the Visual Culture of the Islamic World, 31 (November 2014): 173-205
Nina Amstutz, “Caspar David Friedrich and the Anatomy of Nature,” Art History vol. 37, no. 3 (June 2014): 454-81
Daniela Fabricius, “Who’s Afraid of Ludwig Hilberseimer? Spectrality and Space in the Groszstadt,” Journal of Architectural Education vol. 67 no. 1 (March 2013): 39-51
Ittai Weinryb, “Living Matter: Materiality, Maker, and Ornament in the Middle Ages,” Gesta vol. 52, no. 2 (Fall 2013): 113-32
Pepper Stetler, “The Object, the Archive, and the Origins of Neue Sachlichkeit Photography,” History of Photography 35, no. 3 (August 2011): 281-95
Amy K. Hamlin, “The Conditions of Interpretation: A Reception History of The Synagogue by Max Beckmann,” nonsite.org, Issue 7 (October 2012), n.p.
Shira Brisman, “Sternkraut: ‘The Word that Unlocks’ Dürer’s Self Portrait of 1493,” in Der frühe Dürer, ed. Thomas Eser and Daniel Hess. London: Thames & Hudson; Nuremberg: Germanisches Nationalmuseum, 2012, 194-207
Current HGSCEA members presenting a paper on any panel at CAA who are either graduate students or have received their PhD within the last five years are also eligible to apply for a Travel Stipend of up to $250.