sustaining and contributing members


HGSCEA Sustaining and Contributing Members 2019

Sustaining: ($100)

Timothy Benson

Barbara Buenger

Peter Chametzky

Eva Forgacs

Francoise Forster-Hahn

Charles Haxthausen

Karyn Lang

Rose-Carol Washton Long

Maria Makela ($200)

Allison Moorehead

Marsha Morton

Jeffrey Saltetnik

Adrian Sudhalter

James van Dyke

Contributing: ($50)

James Arthur

Pat Berman

Kathleen Chapman

Shannon Connelly

Reinhold Heller

Keith Holz

Rebecca Houze

Anna Jozefacka

Juliet Koss

Luise Mahler

Steven Mansbach

Barbara McCloskey

Jeanette Redensek

Tamara Schenkenberg

Nathan Timpano

Gregory Williams

Contributing memberships at $50 and Sustaining Memberships at $100 help cover HGSCEA’s annual costs, which include a dinner reception at the College Art Association Annual Conference, the annual Emerging Scholars Essay Prize, and travel grants to CAA for adjuncts and junior scholars.

emerging scholars prize


The annual HGSCEA Emerging Scholars Publication Prize is an award of $500 given to the author of a distinguished essay published the preceding year on any topic in the history of Scandinavian, German or Central European art, architecture, design, or visual culture.

2020 Winner

Aleksander Musiał, “Mentem mortalia tangunt – Fragments and Fetishes in Puławy Landscape Garden (1794-1831),” Oxford Art Journal, vol. 42, Issue 3, (December 2019) 355–372, (Published 2020)

Honorable Mention

Jordan Troeller (Universität Graz) for “Lucia Moholy’s Idle Hands,” in October vol 172 (Spring 2020): 68-108.

Past Winner Archive

teaching 19-century German and Central European art in English-speaking countries

Nineteenth-Century Curriculum Matters

In the casual spirit of the blog, I would like to initiate a discussion and exchange of information and experiences regarding the teaching of nineteenth-century German and Central European art in English-speaking countries.  While twentieth-century art (at least German) enjoys greater centrality in art history curriculums, nineteenth-century courses are more of a rare breed.   Until the last decade, material available in English was fairly limited but that is increasingly no longer the case for German topics.   At most schools, however, students who read any of these Central-European languages are very scarce. 

Ten years ago I began teaching a graduate course that surveys the century in Germany (Winckelmann to Liebermann, essentially).  I initially feared that it would seem extremely obscure and even irrelevant to students at the art school where I teach (Pratt Institute).   This was initially the case but over time I have noticed a distinct change in attitude in my students who now regard the material – and issues raised concerning spiritualism, nationalism, gender, etc. – as mainstream.  (Philosophers and musicians, nonetheless, remain more familiar figures.)  I attribute this change to the ever-growing popularity of German modernism, to the (slowly) expanding number of museum exhibitions, and to the increasing availability of publications – especially essays and articles – in English.  Additionally, survey textbooks of nineteenth-century art by Petra Chu and Michelle Facos have expanded coverage of German and Central European contributions.    

I have little knowledge of offerings at other institutions apart from courses taught by Cordula Grewe and Christiane Hertel.   Do some faculty members teach more specialized classes?  Interdisciplinary courses?  Would HGCEA members be interested in compiling a database of courses, syllabi, and bibliographies?  I would particularly like to gather a list of Ph.D.-granting universities with faculty in this area.  The recent retirements of Reinhold Heller and Françoise Forster-Hahn have only contributed to a decline in undergraduate and graduate course offerings.   A perusal of CAA’s list of completed dissertations yielded only four in the past seven years: 

  • McColgan, Denise Sarah, “The Sacred Spring of Nature: Gustav Klimt’s Landscape Paintings and Nietzschean Tragic Vision” (Yale, C. Wood), 2005
  • Becker, Colleen, “Competing Representations: The “Volk” in German Visual Culture, 1890– 1900” (Columbia, A. Higonnet), 2008
  • Barenscott, Dorothy, “Founding and Finding Modern Hungary in Fin de Siècle Budapest” (University of British Columbia, M. Ryan), 2008
  • Drozdek, Justyna, “A Taste for Paris: The Modernist Dialogue between France and ‘Young  Poland,’ 1890–1914” (Case Western Reserve, A. Helmreich), 2008

More theses are hopefully in progress, but until this situation is rectified German and Central European art history will remain a field of largely Medieval, Renaissance and Twentieth-Century scholarship and publishers will consider manuscripts on nineteenth-century topics to be a speculative venture.


Marsha Morton
Professor, Department of Art and Design History
Pratt Institute




Dear Friends and Colleagues

I am writing to inform you of the launch of the first edition of our new journal: Art East Central ( The journal is an open-access peer-reviewed English-language journal dedicated to the art, architecture and visual culture of east central Europe, from 1800 to the present. The editorial lays out some of the basic ideas behind the journal as well as the scope and meanings of the term ‘east central Europe.’

We look forward to receiving submissions to the journal, either scholarly articles or reviews. We hope that future issues the journal may also serve as a platform for the publication of translations of source texts, and will welcome proposals.

Please pass on the word to colleagues and researchers who may be interested!

Prof. Matthew RampleyRC
Principal Investigator | Continuity / Rupture: Art and Architecture in Central Europe 1918-1939

Dear Colleagues,

I’m writing to spread the word about the Hot Metal Bridge Post-Bac Program (HMB) at the University of Pittsburgh. This 1-year, fully funded post-baccalaureate fellowship program is designed to help talented students from groups traditionally underrepresented in art history and other selected disciplines in the natural and social sciences, including first-generation graduate students and those from disadvantaged socio-economic backgrounds.  HMB helps to bridge the gap between an undergraduate degree and a graduate training program. Program eligibility is limited to US citizens or permanent residents. Fellows enjoy financial support (including tuition and stipend) and mentoring by both faculty and graduate students as they prepare themselves for a successful program of doctoral studies. This is a great opportunity for recent college graduates, those who seek to change careers, and other applicants who have completed an undergraduate degree, are highly motivated and show strong academic promise, but are not quite ready to apply to a doctoral program in their field of interest. Of those who have completed the program since 2011, 80% have gone on to graduate studies at Pitt and elsewhere.

Full details, answers to frequently asked questions, and application instructions are available here:

In the History of Art and Architecture (HAA) Department, Hot Metal Bridge Fellows enroll in graduate seminars, take part in our research constellations, and are integrated into other aspects of university life along with the first-year graduate cohort.  They also receive personalized mentoring on their applications to PhD programs.

Information on the Graduate Program in History of Art and Architecture is available here:

My colleagues and I in HAA and other participating departments at Pitt would be very grateful if you would help us spread the word about this program among your students, colleagues, and broader networks. While the deadline for Fall 2021 of Friday, April 2, 2021 is rapidly approaching, we hope you will also keep this program in mind for students who could be ready to apply next year, if not this year.

Thank you in advance for your help in disseminating this opportunity, and please encourage potential applicants and/or their mentors to get in touch with our Interim Chair, Jennifer Josten (, or Director of Graduate Studies, Barbara McCloskey (, with any questions they may have.

Best wishes,

Barbara McCloskey
Professor and Director of Graduate Studies
Department of History of Art and Architecture
University of Pittsburgh

The German Studies Association ( will post information in its spring newsletter about dissertations completed in any area of German (i.e., Austrian, German, Swiss, German diasporic) Studies (any discipline or interdisciplinary). If you received your Ph.D. in 2019, 2020, or 2021, you may be listed in our newsletter. If you have supervised a dissertation that was completed in 2019, 2020, or 2021 that has not already been listed, please encourage the author to submit a description following the guidelines below.

Send an email to the GSA President, Dr. Janet Ward ( by 30 April, 2021. Please type “GSA dissertation list” in the subject line. Be sure to include, in this order:
1. Name (last, first)
2. Title of dissertation
3. Institution and department in which it was defended
4. Name of dissertation director(s)
5. Month and year of defense (or degree if no defense)
6. Abstract of the dissertation of 200 or fewer words in either English or German. (150 words is desired length, 200 words an absolute limit.)
Please forward this notice to any institutions or individuals for whom you believe it is relevant.

Contact Info: 

Dr. Janet Ward, President, German Studies Association

Contact Email:


Postdoc Position in Art History (application deadline 15 March)

The Department of Arts and Cultural Studies, Faculty of Humanities, University of Copenhagen (UCPH), Denmark, invites applications for an eighteen-month postdoctoral position in art history to be filled by September 2021 or as soon as possible thereafter.The position is part of the research project Feminist Emergency: Women Artists in Denmark, 1960-Present, led by Assistant Professor Kerry Greaves and funded by Novo Nordisk Foundation. Position starting date: 1 September 2021. Find more information here:

The Association of Print Scholars invites submissions for the 2020 APS Publication Grant, supported by C.G. Boerner and Harris Schrank.

The APS Publication Grant supports the publication of innovative scholarly research about printmaking across all time periods and geographic regions. The grant carries a maximum award of $2,000 and is funded through the Association of Print Scholars and the generosity of C.G. Boerner and Harris Schrank.

Proposed projects should be feature-length articles, online publications or essays, exhibition catalogues, or books, which are nearing completion and publication. Examples of possible uses for an APS Publication Grant include, but are not limited to, the following:

-Travel expenses for research essential to the completion of a manuscript;

-Studio time or courses in printmaking that will contribute significantly to a scholar’s understanding of their subject matter, or collaboration between printmakers and scholars;

-Funding assistance for photography and image permissions;

-Honoraria for contributors to edited volumes or other collaborative publications.

Applications are due August 31. Successful applicants will be notified by November 1 and the grant must be applied to publication costs within one year of notification.

Successful proposals must address all of the following criteria, which must be consolidated into a single PDF document (12 pt. font, black text):

  1. Proposal narrative describing scholarly project. Projects will be evaluated based on the clarity of the proposal and the originality and innovation of the applicant’s research (500-1000 words).
  2. Budget and budget narrative (250 words or less) detailing how grant funding would be spent. Please list any other grants for which the applicant has applied, amounts, and the results (if known).
  3. A detailed publishing plan, which should ideally include documentation of progress towards publication or the project’s likelihood of publication. This documentation could take the form of a letter from an editor, press, or publisher, or an outline of possible publishers and contact made thus far. Please note that applications with a publisher’s support will receive highest consideration for the grant.
  4. CV for all participant(s), no longer than 3 pages for each participant.

Applicants should send the above materials in a single PDF by August 31, 2020 to the APS Grants Committee at

For additional information, please visit:

Deadline: Jun 30, 2020 , University of Cambridge Thinking Provenance, Thinking Restitution Joint Project of the University of Cambridge and the University of Bonn
In the two decades since the 1998 ‘Washington Conference on Holocaust-Era Assets’, public awareness of Nazi era lootings, provenance research and restitution has slowly been on the rise. At Washington, governments from across the world committed to research objects in their care, and to publicise their findings with a view to achieving ‘fair and just solutions’. Museums and the art market have followed suit, with many directing new resources to investigate objects that changed hands in Europe between 1933 and 1945. In the last five years, however, this public interest has increased exponentially. Beyond the historical focus on Nazi-era lootings, new contexts of ‘wrongful displacement’ have come into focus. In Germany for example, the country’s Lost Heritage Foundation has recently introduced state funding for research into cultural goods displaced by the East German state (2015), and in collections with colonial contexts (2018). Since 2015 new academic positions in the field of provenance research have also been established in Hamburg, Munich and Berlin. In 2018 the Centre for Provenance Research, Art and Cultural Heritage Law was established at the University of Bonn, supported by the Alfried Krupp von Bohlen und Halbach Foundation. The time is ripe for a critical engagement with these developments, to bring together international experts and encourage Europe-wide comparison and exchange. Alongside the important technical work of establishing the facts, there is also more than ever a need for a conceptual and theoretical foundation in provenance, which reflects on the identity of objects, the agency of those involved in their movements and transactions, and the ethical challenges faced by institutions, among other aspects. This will be the first of two workshops staged in collaboration between the Department of History of Art at the University of Cambridge and the Centre for Provenance Research, Art and Cultural Heritage Law at the University of Bonn. At this first workshop in Cambridge, topics for proposed papers may include but are 2 || 2 – network for art history not limited to: – comparative reviews of provenance research methodologies, and how they have advanced over time – working towards a ‘critical theory of provenance’ – provenance as an alternative history of art – ‘righting wrongs’, new solutions for dealing with wrongful displacements in museums – how practices developed in the National Socialist context can be meaningfully applied, for example, to colonial-era art and artefacts – public attitudes towards provenance and restitution – the broader importance of provenance for the historical, archaeological and anthropological academic disciplines – the discursive constructs in provenance and restitution practices We solicit 20-minute papers from academics and cultural professionals at any stage of their careers. The workshop anticipates a maximum of 14 papers, which will be circulated in advance. The accepted papers will be considered for publication in a forthcoming edited volume. The conference is planned to take place at the Museum of Archaeology and Anthropology, Cambridge, on Monday 7 and Tuesday 8 December 2020. We are particularly interested in supporting international exchange in the areas of provenance research and restitution and therefore welcome proposals from academics and cultural professionals working outside Britain. The conference language is English.
Submissions are to be made by midnight GMT, Tuesday 30 June 2020, by email with the subject line “Thinking Provenance” to both of the organisers: Dr Mary-Ann Middelkoop ( and Dr. Lucy Wasensteiner ( Please combine in a single PDF file: – A proposed title and abstract (max. 400 words) for a 20-minute paper – A current CV Thanks to the support of the DAAD Cambridge Research Hub for German Studies, limited funds will be available for travel and accommodation costs for participants travelling from outside Cambridge.

Erasures and Eradications in Viennese Modernism (CFP—Edited Volume) 

During the last three decades Viennese Modernism has exploded in popular culture and academia: in countless exhibitions dedicated to painting, architecture, and the applied arts, in myriad books on every well-known Viennese designer, and in the “Klimtomania” that covers umbrellas, scarves and shopping bags. Yet the popularity of Viennese Modernism and the commercial “Vienna 1900” industry simultaneously obscures a problematic series of historical erasures and gaps. All too often, the glittering culture of “Vienna 1900” is studied in isolation from the political exigencies of 1938 and thereafter. This volume interrogates the neglect and repression of specific figures, organizations and movements that have faded in the shadow of larger Viennese superstars and a now familiar narrative. Erasures and Eradications in Viennese Modernism therefore seeks to widen the field of artists, exhibitions and interpretive issues surrounding the heyday of Viennese modernism, from 1890 to the Anschluss and beyond.

This volume departs from the well-worn chronological contours of Viennese Modernism, moving beyond the now iconic narrative of “Vienna 1900”—largely focused on the story of the holy trinity of Klimt-Schiele-Kokoschka as intrepid geniuses who challenged a conservative artistic-cultural status quo—to examine lesser-known artists, exhibitions, and movements connected to the Vienna Secession, Klimt Group and other modernist leagues. Taking inspiration from the Klimt Group’s ideal of “All Those Who Appreciate and Enjoy Art”—a radical redefinition of art and art-making defying conventional definitions of active and passive creation—our volume positions collectors, patrons and the interested public as active co-producers in shaping fin-de-siècle Vienna’s vibrant cultural scene. Our volume forges connections between the fin-de-siècle and interwar Vienna, which continued to be marked by experimental, avant-garde movements (such as Kineticism, a synthesis of formal developments in Expressionism, Cubism, and Futurism through which practitioners visualized inner experiences and emotional states through abstract ornamental forms) and intense contacts with other urban centers in the successor states and beyond. In the applied arts, the volume probes the dynamic output of the postwar Wiener Werkstätte, commercial design workshops predominated by women during and after the Great War, as well as other lesser-known workshops in which practitioners experimented with expressionist, cubist and primitiivist principles of design.

 The collected research of this volume argues that the popularity of the “Vienna 1900” industry so central to museum bookstores and the Austrian tourist industry until today is deeply connected to the political exigencies of 1933, 1938 and 1945. Indeed, the seemingly safe, apolitical image of high culture and art so central to the postwar Austrian identity—a land of mountains, music, art, and Sachertorte— was carefully retouched to remove references to Vienna’s troublesome Nazi past. After the Anschluss, Austria’s annexation into the Third Reich, leading members of the Vienna Moderns presided over the Nazification and “de-Jewification” of Viennese artistic institutions like the Secession, Austrian Werkbund, Künstlerhaus and art academies. In the past decade there has been a welcome re-examination of these issues in German-language scholarship, including numerous books, exhibitions and symposia. These include, for example, texts addressing the “buried history” of institutions like the Künstlerhaus, scholarship on popular exhibitions of less lauded artists, and monographs on neglected and exiled artists. We hope our contributions will build on these important revisions, while illuminating other areas and artists for both the English speaking and global readership. The image of Viennese Modernism still promoted in many museum exhibitions today must come to terms with its disturbing Nazi connections and the erasure of Secessionist Vienna’s significant Jewish roots, to make room for other artists, institutions, and histories of Viennese Modernism that are at once challenging, exhilarating, surprising and heartbreaking.

Erasures and Eradications in Viennese Modernism welcomes contributions from scholars representing a variety of disciplinary backgrounds and methodological approaches but, above all, seeks essays centering on the visual arts, design, and architecture. Unlike previous edited volumes on Vienna 1900—interdisciplinary studies of developments in literature, philosophy, café culture, psychology— the present volume focuses exclusively on developments in painting, sculpture, and the decorative and applied arts from an inter- and multidisciplinary perspective.

Potential topics might include, but are not limited to:

— Understudied artists (particularly women and/or those of Jewish descent) and/or

movements (such as Kineticism and the child art movement)

Alternative or contested historiographies of Viennese art from the fin-de-siècle to the present

Viennese artistic institutions (including artist leagues, exhibitions and schools) and cultural life under Austro-Fascism, National Socialism, and in the immediate postwar period

Artists suffering persecution and/or exile under National Socialism

Cultural patronage and dealer networks/ male and female patrons as active ‘co-producers’

Relationships between Vienna and other urban centers under the monarchy and successor states

The 19th-century “prehistory” of Viennese Modernism (including points of continuity between historicism and Secessionism; the re-discovery of the Biedermeier period as a predecessor to modernist values and aesthetics; and connections to other painters/movements appropriated as precedents; and/or other neglected sources of influence)

— the largely Jewish background of the Josef Frank circle and their distinctly Viennese variant of interior design, Wiener Wohnkultur

–Application to the visual arts of new theories and approaches which challenge Schorske’s interpretations

Art historical erasures and postwar Austrian “amnesia” surrounding the first victim myth

—Interpretations or use of the art of Vienna 1900 in the context of current Austrian politics

–Other areas of eradication or obliteration

Potential contributors should send a 300 word abstract, brief bio and curriculum vitae as a single pdf document to Megan Brandow-Faller and Laura Morowitz by  by September 15 2020.

Final essays are limited to 6,000 words and may include up to four black-and-white images. Completed essays will be due June 1 2020. Pending acceptance of the final project, the volume is slated to appear with a leading academic press with a strong reputation in visual studies.

Please direct any inquiries to Megan Brandow-Faller, Associate Professor of History at the City University of New York/Kingsborough, at and Laura Morowitz, Professor of Art History at Wagner College,


Research Forum for German Visual Culture (RFGVC)

The Research Forum for German Visual Culture (RFGVC) is a network organisation that exists under the auspices of the Visual Arts Research Institute, Edinburgh (VARIE) based at the University of Edinburgh, and involving VARIE consortium partners – Edinburgh College of Art, the National Galleries of Scotland, National Museums Scotland, National Library of Scotland, University of Glasgow, and the University of St Andrews, as well as other partner institutions in the UK and abroad.

The RFGVC is inter- and multi- disciplinary, inter-school, inter-institutional, and international in orientation. The scope of research interest encompasses Germany, Austria, and Switzerland, and while the central focus is likely to be on modern and contemporary visual culture, the forum does not exclude coverage of earlier periods.

In the first instance, the forum is designed to cohere and draw upon the considerable expertise and research networks of Germanists based in Scottish academic and art institutions, and to create various opportunities for knowledge transfer. Beyond this goal, it is intended as a key research exchange point encouraging Anglo-American-German relations within a matrix of international research institutions, centres, associations, and societies.

The RFGVC will encourage contact between British, American, and German art historians and curators, fostering and contributing to the development of national and international collaborative, cross-disciplinary and cross-cultural research by means of seminars, conferences, colloquia, and lectures. In due course, the RFGVC will also develop an active programme of film screenings and other events.

For information about the forum, and for details about forum events, visit the RFGVC website at 

The Research Center “Humanities, Modernity, Globalization” at Jacobs University in Bremen, Germany invites applications for Postdoctoral Fellowships in the Humanities

The position allows for independent research, but the successful applicant will be expected to contribute to the center’s research agenda; be involved in ongoing research initiatives; assist in project management, fund raising, and third-party funding applications. In addition, s/he will teach one course per semester, either a seminar related to topics of his/her expertise and/or an introductory course.

The research center is particularly interested in applicants whose scholarship focuses on contemporary issues, intercultural concepts, and global perspectives in fields such as art history, literature, cultural history, religious studies, media studies, anthropology, and philosophy. For further information regarding the research center, visit our website:

Successful applicants will hold a Ph.D. degree or equivalent in a humanities discipline. S/he will be responsible, self-motivated, and enjoy working in an international academic environment. In addition to excellent writing and presentation skills, organization and management skills are essential. Proven experience with project management and/or the acquisition of third party funds will be considered a definite plus. Fluency in English is a must, knowledge of other languages in as much as it is required by the candidate´s research interests. Candidates who do not speak German are encouraged to take part in the German courses offered by Jacobs University. Experience with ehumanities is especially welcome.

Jacobs University is a private, international, English-language University in Northern Germany. It is an equal opportunity employer and is certified “Family Friendly” by the Hertie Foundation. For further information see

Please sent your application as one PDF document to and include the following items:

    • Letter of application
    • Curriculum Vitae with list of publications
    • Names and contact information of three references
  • A short description of three courses the candidate could teach, with indication of whether the course would be taught at an introductory or advanced level)

In addition to the PDF application, we ask you to provide us with electronic copies of two published articles or book chapters.

All correspondence should be addressed to:
Prof. Dr. Isabel Wünsche
Research Center “Humanities, Modernity, Globalization”
School of Humanities and Social Sciences
Jacobs University gGmbH
Campus Ring 1, Research IV
28759 Bremen

Call for Manuscript Proposals: German History in Context

Camden House is pleased to launch a new series in German history entitled GERMAN HISTORY IN CONTEXT. We especially encourage submissions of monographs and edited collections on any aspect of post-1945 cultural, political, and social history. Investigations of the Third Reich, the Weimar Republic, and Imperial Germany are also welcomed. Of particular interest to the series editors are studies that explore their given historical topic in a wider perspective: for instance, by comparing cultural developments in East and West Germany; by seeking to understand developments in Germany in a transnational or global context; or by analyzing the degree to which events in postwar Germany were shaped by the legacy of earlier eras. All manuscripts will be peer reviewed and, if accepted for publication, copyedited and produced in line with the highest standards in academic publishing.

Series editor is BILL NIVEN, Professor of History at the Nottingham Trent University, UK.

Members of the editorial advisory board are Professor Stefan Berger of the University of Bochum, Professor Atina Grossmann of The Cooper Union, New York, and Professor Andrew Port of Wayne State University.

Proposal forms in both Word and pdf formats are found at:

Our preference is for the Word form, sent as an email attachment to Camden House Editorial Director Jim Walker at




The Alexander von Humboldt Foundation, “promote[s] academic cooperation between excellent scientists and scholars from abroad and from Germany.”


The German Academic Exchange Service (DAAD) is the largest funding organisation in the world supporting the international exchange of students and scholars. Since it was founded in 1925, more than 1.5 million scholars in Germany and abroad have received DAAD funding. It is a registered association and its members are German institutions of higher education and student bodies.


The Gerda Henkel Foundation was established in 1976 by Lisa Maskell (1914 – 1998) in memory of her mother Gerda Henkel. Headquartered in Düsseldorf, the Gerda Henkel Foundation is a charitable organisation under private law that is independent of today’s Henkel Group. The Foundation supports national and international academic projects in the following subjects: Archaeology, History, Historical Islamic Studies, Art History, History of Law, and Pre- and Protohistory. The Foundation is active both inside and outside Germany.

HGSCEA at CAA archive

HGSCEA at CAA Chicago 2022

HGSCEA at CAA 2021 New York

HGSCEA at CAA 2019 New York

Members’ Dinner

Thursday, February 14, 7–9 p.m.

Annual Business Meeting

Friday, February 15, 12:30–1:30 p.m.

New York Hilton Midtown, 4th Floor, Harlem Room

Members are encouraged to attend.

Sponsored Session:

“Women Artists in Germany, Scandinavia, and Central Europe, 1880-1960”

Saturday, February 16, 10:30 a.m.–12:00 p.m.

New York Hilton Midtown, 2nd Floor, Gramercy West

Chaired by Kerry Greaves. Papers by Emil Leth Meilvang, Nora Butkovich, Lauren Hanson, and Lynette Roth. See:

Special Event:

Curator’s Tour of “Jan Tschichold and the New Typography”

Sunday, February 17, 11:00 a.m.–12 p.m.

Bard Graduate Center Gallery, 18 West 86th Street, New York, NY 10024

Paul Stirton offers a closer look at his new exhibition, “Jan Tschichold and the New Typography.”

Member Papers

Systems and War, 08;30-10:00, Wednesday 13 February, Regent Salon, 2nd Floor.
Jean Marie Carey Raubkunst at the Ringling: Franz Marc’s Schöpfungsgeschichte.
This panel will be in an alternative format and will include an appearance by performance artist Katya Grokhovsky.

news & events


Book LaunchConstructing Race on the Borders of Europe: Ethnography, Anthropology, and Visual Culture, eds. Marsha Morton and Barbara Larson

You are cordially invited to a book launch party on Saturday April 17 celebrating the release of our book Constructing Race on the Borders of Europe.  This anthology features essays by many HGSCEA members and was initially developed from the HGSCEA session, “Representing Race”  chaired by Allison Morehead at CAA  in 2018.  The book launch will feature brief presentations by the authors followed by a Q&A.  Further information is provided in the registration link below.  We hope that you can attend!

Apr 17, 2021 3:00 PM  Eastern Standard Time
See email for details on how to register.

Engineer, Agitator, Constructor: The Artist Reinvented
On view through April 10, 2021 

Friday, March 5, 7:00 – 8:30 pm EST

You are invited to a special walkthrough of MoMA’s Engineer, Agitator, Constructor: The Artist Reinvented with exhibition organizers, Jodi Hauptman and Adrian Sudhalter, followed by a discussion moderated by HGSCEA President James Van Dyke.  The exhibition traverses much of HGSCEA’s geographic terrain and numerous HGSCEA members contributed to the catalogue.  This special event — organized exclusively for HGSCEA — is open to current members and is free of charge (renew your membership here).  It will take place on Friday, March 5, from 7:00–8:30 p.m. (EST).  This is a by-registration-only event. To register check your email.

Robert Gore Rifkind dies at age 91; His legacy continues through the Rifkind Scholars-in-Residence Program.

The renowned collector of German Expressionist art and donor of the eponymous study center at LACMA, Robert Gore Rifkind, died on October 20 at the age of 91. A graduate of UCLA and Harvard Law School, he was a pioneer of the boutique law firm model and established the first single-focused case securities law practice in Los Angeles in 1978. He was awarded the Order of Merit, First Class by the Federal Republic of Germany in recognition of his extraordinary efforts in spearheading the understanding of German Expressionist art in the U.S. His philanthropy included HGCEA at a crucial juncture in 2004 as well as grants to many of its members through the Rifkind Scholars-in-Residence program.

Rifkind was assisted in building his collection by dealer Orrel P. Reed Jr. and scholar Peter Gunther, among others, and the library was enriched by the expertise of Jake Zeitlin in Los Angeles, Elmar W. Seibel in Boston, and Hans Bolliger in Zurich. His 1983 donation of German Expressionist prints, drawings, and library led to the creation of the Robert Gore Rifkind Center for German Expressionist Studies, an extensive and growing collection of more than 6,000 prints and drawings and a research library of over 10,000 volumes, documented in the 1989 volume Prints and Drawings: The Robert Gore Rifkind Center for German Expressionist Studies by Bruce Davis, which includes Mr. Rifkind’s interview of Oskar Kokoschka.

Oskar Kokoschka and Robert Gore Rifkind, 1978.

LACMA’s exhibition program includes nearly continuous rotations and thematic installations from the Rifkind collection—often complemented by works from other LACMA departments—most recently the exhibition, Fantasies and Fairy Tales. The Rifkind Center has also contributed to major international loan shows ranging from German Expressionist Sculpture (1983), The Apocalyptic Landscapes of Ludwig Meidner (1989), “Degenerate Art”: The Fate of the Avant-Garde in Nazi Germany (1991), Expressionist Utopias (1993), and Exiles + Emigrés: The Flight of European Artists from Hitler (1997), to Expressionism in Germany and France: From Van Gogh to Kandinsky (2014).

The Robert Gore Rifkind Foundation under the able leadership of Mr. Rifkind’s son, Max Rifkind-Barron, supports art and library acquisitions, LACMA exhibitions such as Hans Richter: Encounters (2013) and New Objectivity: Modern German Art in the Weimar Republic, 1919–1933 (2016), public programming, and a Scholar-in-Residence program that allows specialists from the U.S. and abroad to conduct research in the Center. These activities will continue throughout the construction of LACMA’s new Peter Zumthor building to be completed in 2023.

The Scholars-in-Residence program has supported generations of scholars beginning with Herschel B. Chipp, Wolf-Dieter Dube, Alexander Dückers, Naomi Jackson- Groves, Paul Raabe, Günther Thiem, and extending through Rose-Carol Washton Long, Sherwin Simmons, Olaf Peters and many others up to young scholars and students just beginning their careers today. The Scholar-in-Residence program is currently accepting applications for Summer 2020 and beyond. A link to this program is found at:

With Child: Otto Dix/Carmen Winant

September 21-December 15, 2019

Worcester Art Museum

Centered on WAM’s recent purchase of Otto Dix’s provocative painting, The Pregnant Woman (1931), the exhibition, With Child, will explore the subject of pregnancy and birth in Dix’s works. “The Pregnant Woman” (1931) has touched visitors in powerful ways, eliciting varied responses to a universal theme. This exhibition will be the first internationally to showcase the German artist’s works on this theme, along with a painting from the same model by one of his master students, Gussy Hippold-Ahnert, as well as Dix’s Pregnant Woman (1966), a portrait of his Dresden daughter, Katharina König, and his last nude painting. With Child will explore Dix’s stylistic and personal changes in his treatment of this subject over his lifetime, and associated programming will reflect on women’s social, political, and medical conditions during the Weimar Republic (1918-1933), highlighting issues that are still relevant. This exhibition also will feature a commissioned work by contemporary artist Carmen Winant. Inspired by The Pregnant Woman, Winant’s immersive, multi-media piece, Ha Hoo…Ha Ha Hoo, brings a contemporary woman artist’s voice to this universal topic.


Ricki Long organized a panel: German and Soviet Interchange in the Late 20s and Early 30s which was the second part of a larger series, Visual Culture and Left Politics between the Wars.  Participants in German and Soviet Interchange included:
Tim Benson- Moderator; Oliver Botar – Commentator.
Individual papers and presenters: Dara Kiese, “Hannes Meyer’s Middle Path: Bauhaus and Soviet Functionalism
Katerina Romenank, “In Service of the Regime: Photomontage in Soviet and Nazi Periodicals of the 1930s,”
Rose-Carol Washton Long, “Dangerous portraits? Lotte Jacobi’s Photos of Tajikistan and Uzbekistan Women.”

letter from the president


February 2020

Dear colleagues and friends,

It was great to see so many members of HGSCEA at CAA’s annual conference in Chicago! Our gatherings, so rich and convivial, are always one of the high points of my year.

The conference began for HGSCEA on Wednesday morning with the sponsored session, “A Foreign Eye: Photography, Women, and Global Encounters in the Twentieth Century.” HGSCEA members and the numerous others in attendance were treated to four excellent, provocative papers that addressed the complex and often fraught positions occupied by German, Swiss, and French women who worked as photographers in Japan, Palestine, Africa, and Afghanistan from the 1920s to the 1940s. On behalf of the Board, I want to congratulate the speakers – Kim Felt (National Gallery of Art, Washington, D.C.), Alyssa Bralower (University of Illinois at Urbana-Champaign), Kim Sichel (Boston University), and Elisaveta Dvorakk (Humboldt Universität, Berlin) – for their outstanding presentations. I also want to thank Jordan Troeller (Universität Graz) and Hyewon Yoon (University of New Hampshire) for putting together such a great session.

About thirty HGSCEAns gathered on a cold Thursday evening at Bistronomic, a French restaurant in the North Loop. The wine was delicious, the dinner tasty, the company warm, and the presidential speech mercifully short – at least I hope it was. (See the website for a few photos.) Most importantly, I announced the results of the 2019 Emerging Scholar’s Publication Prize. Honorable mentions went to Hannah Shaw (Rutgers University) for her essay, “The Trouble with the Censorship of August Sander’s Antlitz der Zeit,” in PhotoResearcher and to Kristin Schroeder (University of Virginia) for her article, “A New Objectivity: Fashionable Surfaces in Lotte Laserstein’s New Woman Pictures,” in The Art Bulletin. The winner was Aaron Hyman (Johns Hopkins University), for his article “The Habsburg Re-Making of the East at Schloss Schönbrunn, ‘or Things Equally Absurd’,” in The Art Bulletin. As always, jurying the competition was both a pleasure and a challenge, given the quality of the entire pool of essays and articles that were submitted.

On Friday morning, a group of members gathered at the Art Institute for a special HGSCEA event organized by Jay Clarke, Curator in the Department of Prints and Drawings. Participants had the opportunity to look closely at a selection of works on paper from Dürer and Hollar, through Kollwitz and Munch, to Kiefer and Trockel. We are fortunate to have among us generous friends and colleagues who make such things possible.

Looking ahead, I would like to encourage those who qualify to submit new publications to the Emerging Scholars Prize later this year, and to apply for Travel Stipends of up to $250 to assist with the cost of attending CAA. If anyone is working on an exhibition, symposium, or other such event, and thinks that collaboration with HGSCEA would be useful, please contact me or any other member of the Board. We take great pleasure and pride in facilitating the sponsored session, in jurying the Emerging Scholars Prize, in offering travel funds, and in arranging the members’ dinner, but are eager to support scholarship on German, Scandinavian, and Central European Art and Architecture in other ways.

To conclude, I want once again to welcome those who have joined HGSCEA’s Board – Nina Amstutz, Jenny Anger, Thor Mednick, and Nick Sawicki. I am eager to work with them and with those who are continuing – Morgan Ridler, Jeffrey Saletnik, and Adrian Sudhalter – both to maintain what HGSCEA does and to find new ways to make the organization even more appealing to graduate students and early career colleagues in particular.

At the same time, I will miss those who are leaving the Board: Kathleen Chapman, Karla Huebner, Juliet Koss, and Marsha Morton. It is especially important to recognize Marsha’s fifteen, and Juliet’s nine years of service. Their ideas and efforts were indispensable to HGSCEA’s development and success over the past decade.

I hope to see them, and every member, at CAA in New York in 2021!

All best,

Jim van Dyke

HGSCEA President


The service AHICE was created to provide easier access to information about events in the domain of art history in four Central European countries: the Czech Republic, Hungary, Poland and Slovakia. The areas covered include exhibitions, conferences and publications. AHICE publishes a monthly e-mail newsletter and operates a website at:


Art Margins is an e-journal dedicated to contemporary visual culture, including contemporary art, of Central and Eastern Europe. It covers all media, including architecture,new media, and film.


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The Virtueller Katalog Kunstgeschichte (Virtual Catalogue for Art History,VKK) is a European specialized meta catalogue based on the KVK technolgy.]The VKK gives now access to more than 4,1 million bibliographical records. It is also accessible through

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arthistoricum (,

The Grosse Deutsche Kunstausstellungen online (Zentralinstitut für Kunstgeschichte):
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The combined online public access catalog of the Zentralinstitut für Kunstgeschichte/Kunsthistorisches Institut in Florence/Deutsches Forum für Kunstgeschichte in Paris/Bibliotheca Hertziana in Rome:

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recently published books


Constructing Race on the Borders of Europe: Ethnography, Anthropology, and Visual Culture, 1850-1930

Edited by Marsha Morton and Barbara Larson (Bloomsbury, 2021)

Constructing Race on the Borders of Europe investigates the visual imagery of race construction in Scandinavia, Austro Hungary, Germany, and Russia. It covers a period when historic disciplines of ethnography and anthropology were expanding and theorists of race were debating competing conceptions of biological, geographic, linguistic, and cultural determinants. Beginning in 1850 and extending into the early 21st century, this book explores how paintings, photographs, prints, and other artistic media engaged with these discourses and shaped visual representations of subordinate ethnic populations and material cultures in countries associated with theorizations of white identity.

The chapters contribute to postcolonial research by documenting the colonial-style treatment of minority groups, by exploring the anomalies and complexities that emerge when binary systems are seen from the perspective of the fine and applied arts, and by representing the voices of those who produced images or objects that adopted, altered, or critiqued ethnographic and anthropological information. In doing so, Constructing Race on the Borders of Europe uncovers instances of unexpected connections, establishes the fabricated nature of ethnic identity, and challenges the certainties of racial categorization.

Turks, Jews, and Other Germans in Contemporary Art

By Peter Chametzky

The first book to examine multicultural visual art in Germany, discussing more than thirty contemporary artists and arguing for a cosmopolitan Germanness.

With Turks, Jews, and Other Germans in Contemporary Art, Peter Chametzky presents a view of visual culture in Germany that leaves behind the usual suspects—those artists who dominate discussions of contemporary German art, including Gerhard Richter, Anselm Kiefer, and Rosemarie Trockel—and instead turns to those artists not as well known outside Germany, including Maziar Moradi, Hito Steyerl, and Tanya Ury. In this first book-length examination of Germany’s multicultural art scene, Chametzky explores the work of more than thirty German artists who are (among other ethnicities) Turkish, Jewish, Arab, Asian, Iranian, Sinti and Roma, Balkan, and Afro-German.

Modern Women Artists in the Nordic Countries, 1900-1960

Edited By Kerry Greaves (Routledge 2021)

This transnational volume examines innovative women artists who were from, or worked in, Denmark, Finland, Greenland, Iceland, Norway, Sápmi, and Sweden from the emergence of modernism until the feminist movement took shape in the 1960s.

The book addresses the culturally specific conditions that shaped Nordic artists’ contributions, brings the latest methodological and feminist approaches to bear on Nordic art history, and engages a wide international audience through the contributors’ subject matter and analysis. Rather than introducing a new history of “rediscovered” women artists, the book is more concerned with understanding the mechanisms and structures that affected women artists and their work, while suggesting alternative ways of constructing women’s art histories. Artists covered include Else Alfelt, Pia Arke, Franciska Clausen, Jessie Kleemann, Hilma af Klint, Sonja Ferlov Mancoba, Greta Knutson, Aase Texmon Rygh, Hannah Ryggen, Júlíana Sveinsdóttir, Ellen Thesleff, and Astri Aasen.

The target audience includes scholars working in art history, cultural studies, feminist studies, gender studies, curatorial studies, Nordic studies, postcolonial studies, and visual studies. 

Photofascism: Photography, Film, and Exhibition Culture in 1930s Germany and Italy

Vanessa Rocco (Bloomsbury Visual Arts, 2020)

Photography and fascism in interwar Europe developed into a highly toxic and combustible formula. Particularly in concert with aggressive display techniques, the European fascists were utterly convinced of their ability to use the medium of photography to manufacture consent among their publics. Unfortunately, as we know in hindsight, they succeeded. Other dictatorial regimes in the 1930s harnessed this powerful combination of photography and exhibitions for their own odious purposes. But this book, for the first time, focuses on the particularly consequential dialectic between Germany and Italy in the early-to-mid 1930s, and within each of those countries vis-à-vis display culture.

The 1930s provides a potent case study for every generation, and it is as urgent as ever in our global political environment to deeply understand the central role of visual imagery in what transpired. Photofascism demonstrates precisely how dictatorial regimes use photographic mass media, methodically and in combination with display, to persuade the public with often times highly destructive-even catastrophic-results.

Eloquent Bodies: Movement, Expression, and the Human Figure in Gothic Sculpture

Jacqueline E. Jung (Yale University Press, July 14, 2020)

A radical reassessment of the role of movement, emotion, and the viewing experience in Gothic sculpture

Gothic cathedrals in northern Europe dazzle visitors with arrays of sculpted saints, angels, and noble patrons adorning their portals and interiors. In this highly original and erudite volume, Jacqueline E. Jung explores how medieval sculptors used a form of bodily poetics—involving facial expression, gesture, stance, and torsion—to create meanings beyond conventional iconography and to subtly manipulate spatial dynamics, forging connections between the sculptures and beholders. Filled with more than 500 images that capture the suppleness and dynamism of cathedral sculpture, often through multiple angles, Eloquent Bodies demonstrates how viewers confronted and, in turn, were addressed by sculptures at major cathedrals in France and Germany, from Chartres and Reims to Strasbourg, Bamberg, Magdeburg, and Naumburg. Shedding new light on the charismatic and kinetic qualities of Gothic sculpture, this book also illuminates the ways artistic ingenuity and technical skill converged to enliven sacred spaces.

German Expressionism: Der Blaue Reiter and its Legacies
Dorothy Price (ed.) (Manchester University Press, 2020)
This book presents new research on the histories and legacies of the German Expressionist group Blaue Reiter, the founding force behind modernist abstraction. For the first time Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.


Introduction: why does der Blaue Reiter still matter? – Dorothy Price and Christopher Short
1 Is der Blaue Reiter relevant for the twenty-first century? A discussion of anarchism, art and politics – Rose-Carol Washton Long
2 The dynamics of gendered artistic identity and creativity in der Blaue Reiter – Shulamith Behr
3 The ‘primitive’ and the modern in Der Blaue Reiter almanac and the Folkwang Museum – Katherine Kuenzli
4 The ‘savages’ of Germany: a reassessment of the relationship between der Blaue Reiter and Brücke – Christian Weikop
5 Kleinkunst and Gesamtkunstwerk in Munich and Zurich: Der Blaue Reiter and Dada – Debbie Lewer
6 Type/face: Wassily Kandinsky and Walter Benjamin on language and perception – Annie Bourneuf
7 Feeling blue: Der Blaue Reiter, Francophilia and the Tate Gallery 1960 – Nathan J. Timpano
8 Die Tunisreise: the legacy of Der Blaue Reiter in the art of Paul Klee and Nacer Khemir – Sarah McGavran

Engineer, Agitator, Constructor: The Artist Reinvented: 1918–1938 

Edited by Jodi Hauptman and Adrian Sudhalter
The Museum of Modern Art, New York  (2020)

How the modernist avant-gardes from Dada to constructivism reconceived their roles, working as propagandists, advertisers, publishers, graphic designers, curators and more, to create new visual languages for a radically changed world

“We regarded ourselves as engineers, we maintained that we were building things … we put our works together like fitters.” So declared the artist Hannah Höch, describing a radically new approach to artmaking in the 1920s and ’30s. Such wholesale reinvention of the role of the artist and the functions of art took place in lockstep with that era’s shifts in industry, technology, and labor, and amid the profound impact of momentous events: World War I, the Russian Revolution, the collapse of the Austro-Hungarian Empire and the rise of fascism. Highlighting figures such as Aleksandr Rodchenko, Liubov Popova, John Heartfield and Fré Cohen, and European avant-gardes of the interwar years―Dada, the Bauhaus, futurism, constructivism and de Stijl―Engineer, Agitator, Constructor: The Artist Reinvented demonstrates the ways in which artists reimagined their roles to create a dynamic art for a new world.

These “engineers,” “agitators,” “constructors,” “photomonteurs,” “workers”―all designations adopted by the artists themselves―turned away from traditional forms of painting and sculpture and invented new visual languages. Central among them was photomontage, in which photographs and images from newspapers and magazines were cut, remixed, and pasted together. Working as propagandists, advertisers, publishers, editors, architects, theater designers and curators, these artists engaged with expanded audiences in novel ways, establishing distinctive infrastructures for presenting and distributing their work.

Published in conjunction with a major exhibition, Engineer, Agitator, Constructor marks the transformative addition to MoMA from the Merrill C. Berman Collection, one of the great private collections of political art. Illuminating the essential role of women in avant-garde activities while mapping vital networks across Europe, this richly illustrated book presents the social engagement, fearless experimentation and utopian aspirations that defined the early 20th century, and how these strategies still reverberate today.

The Female Secession: Art and the Decorative at the Viennese Women’s Academy

Megan Brandow-Faller

Decorative handcrafts are commonly associated with traditional femininity and unthreatening docility. However, the artists connected with interwar Vienna’s “female Secession” created craft-based artworks that may be understood as sites of feminist resistance. In this book, historian Megan Brandow-Faller tells the story of how these artists disrupted long-established boundaries by working to dislodge fixed oppositions between “art” and “craft,” “decorative” and “profound,” and “masculine” and “feminine” in art.

Tracing the history of the women’s art movement in Secessionist Vienna—from its origins in 1897, at the Women’s Academy, to the Association of Austrian Women Artists and its radical offshoot, the Wiener Frauenkunst—Brandow-Faller tells the compelling story of a movement that reclaimed the stereotypes attached to the idea of Frauenkunst, or women’s art. She shows how generational struggles and diverging artistic philosophies of art, craft, and design drove the conservative and radical wings of Austria’s women’s art movement apart and explores the ways female artists and craftswomen reinterpreted and extended the Klimt Group’s ideas in the interwar years. Brandow-Faller draws a direct connection to the themes that impelled the better-known explosion of feminist art in 1970s America. In this provocative story of a Viennese modernism that never disavowed its ornamental, decorative roots, she gives careful attention to key primary sources, including photographs and reviews of early twentieth-century exhibitions and archival records of school curricula and personnel.

Engagingly written and featuring more than eighty representative illustrations, The Female Secession recaptures the radical potential of what Fanny Harlfinger-Zakucka referred to as “works from women’s hands.” It will appeal to art historians working in the decorative arts and modernism as well as historians of Secession-era Vienna and gender history.

Caspar David Friedrich: Nature and the Self

Nina Amstutz, (Yale University Press, 2020).

A revelatory look at how the mature work of Caspar David Friedrich engaged with concurrent developments in natural science and philosophy

Best known for his atmospheric landscapes featuring contemplative figures silhouetted against night skies and morning mists, Caspar David Friedrich (1774–1840) came of age alongside a German Romantic philosophical movement that saw nature as an organic and interconnected whole. The naturalists in his circle believed that observations about the animal, vegetable, and mineral kingdoms could lead to conclusions about human life. Many of Friedrich’s often-overlooked later paintings reflect his engagement with these philosophical ideas through a focus on isolated shrubs, trees, and rocks. Others revisit earlier compositions or iconographic motifs but subtly metamorphose the previously distinct human figures into the natural landscape.

In this revelatory book, Nina Amstutz combines fresh visual analysis with broad interdisciplinary research to investigate the intersection of landscape painting, self-exploration, and the life sciences in Friedrich’s mature work. Drawing connections between the artist’s anthropomorphic landscape forms and contemporary discussions of biology, anatomy, morphology, death, and decomposition, Amstutz brings Friedrich’s work into the larger discourse surrounding art, nature, and life in the 19th century.

Ascendants: Bauhaus Handprints Collected by László Moholy-Nagy. Edited by Jan Tichy and Robin Schuldenfrei (Chicago: IIT Institute of Design, 2019)

Ascendants: Bauhaus Handprints Collected by László Moholy-Nagy offers a unique insight into one of the less familiar sides of the Bauhaus at large and Moholy-Nagy in particular. In May 1926, thirteen Bauhaus professors and students created handprints that were preserved by László Moholy-Nagy. This publication brings together for the first time all of the so-called Bauhaus handprints in their historical and contemporary contexts with scholars and artists touching upon and responding to the Bauhaus legacy.

BAUHAUS DIASPORA: Transforming Education through Art, Design and Architecture,

Edited  by Philip Goad, Ann Stephen, Andrew McNamara, Harriet Equist, Isabel Wünsche, Melbourne: Melbourne University Publishing; Sydney: Power Publications, 2019

A history of Bauhaus in Australia and New Zealand.

Bauhaus Diaspora and Beyond: Transforming Education through Art, Design and Architecture presents an extraordinary new Australasian cultural history. It is a migrant and refugee story: from 1930, the arrival of so many emigre, internee and refugee educators helped to transform art, architecture and design in Australia and New Zealand. Fifteen thematic essays and twenty individual case studies bring to light a tremendous amount of new archival material in order to show how these innovative educators, exiled from Nazism, introduced Bauhaus ideas and models to a new world. As their Bauhaus model spanned art, architecture and design, the book provides a unique cross-disciplinary, emigre history of art education in Australia and New Zealand. It offers a remarkable and little-known chapter in the wider Bauhaus venture, which has multiple legacies and continues to inform our conceptions of progressive education, creativity and the role of art and design in the wider community.

Carl Einstein  A Mythology of Forms: Selected Writings on Art, Translated by Charles W. Haxthausen, University of Chicago Press (2019)

The German art historian and critic Carl Einstein (1885-1940) was at the forefront of the modernist movement that defined the twentieth century. One of the most prolific and brilliant early commentators on cubism, he was also among the first authors to assess African sculpture as art. Yet his writings remain relatively little known in the Anglophone world. With A Mythology of Forms, the first representative collection of Einstein’s art theory and criticism to appear in English translation, Charles W. Haxthausen fills this gap. Spanning three decades, it assembles the most important of Einstein’s writings on the art that was central to his critical project—on cubism, surrealism, Pablo Picasso, Georges Braque, and Paul Klee, and includes the full texts of his two pathbreaking books on African art, Negro Sculpture (1915) and African Sculpture (1921). With fourteen texts by Einstein, each presented with extensive commentary, A Mythology of Forms will bring a pivotal voice in the history of modern art into English.

A Socialist Realist History? Writing Art History in the Post-War Decades.

Eds. Krista Kodres, Kristina Jõekalda, Michaela Marek. (Das östliche Europa. Kunst- und Kulturgeschichte 9.) Köln, Weimar, Wien: Böhlau Verlag, 2019, 280 pp. 

How did the Eastern European and Soviet states write their respective histories of art and architecture during 1940s–1960s? The articles address both the Stalinist period and the Khrushchev Thaw, when the Marxist-Leninist discourse on art history was „invented“ and refined. Although this discourse was inevitably „Sovietized“ in a process dictated from Moscow, a variety of distinct interpretations emerged from across the Soviet bloc in the light of local traditions, cultural politics and decisions of individual authors. Although the new „official“ discourse often left space open for national concerns, it also gave rise to a countermovement in response to the aggressive ideologization of art and the preeminence assigned to (Socialist) Realist aesthetics.

Eighteenth-Century Art Worlds: Global and Local Geographies of Art.

Stacey Sloboda and Michael Yonan, eds., New York: Bloomsbury Visual Arts, 2019. 

While the connected, international character of today’s art world is well known, the eighteenth century too had a global art world. Eighteenth-Century Art Worlds is the first book to attempt a map of the global art world of the eighteenth century.

Fourteen essays from a distinguished group of scholars explore both cross-cultural connections and local specificities of art production and consumption in Africa, the Americas, Asia, and Europe. The result is an account of a series of interconnected and asymmetrical art worlds that were well developed in the eighteenth century.

Capturing the full material diversity of eighteenth-century art, this book considers painting and sculpture alongside far more numerous prints and decorative objects. Analyzing the role of place in the history of eighteenth-century art, it bridges the disciplines of art history and cultural geography, and draws attention away from any one place as a privileged art-historical site, while highlighting places such as Manila, Beijing, Mexico City, and London as significant points on globalized map of the eighteenth-century art world. Eighteenth-Century Art Worlds combines a broad global perspective on the history of art with careful attention to how global artistic concerns intersect with local ones, offering a framework for future studies in global art history.


Haunted Bauhaus: Occult Spirituality, Gender Fluidity, Queer Identities, and Radical Politics

By Elizabeth Otto (MIT Press, 2019)

An investigation of the irrational and the unconventional currents swirling behind the Bauhaus’s signature sleek surfaces and austere structures.

The Bauhaus (1919–1933) is widely regarded as the twentieth century’s most influential art, architecture, and design school, celebrated as the archetypal movement of rational modernism and famous for bringing functional and elegant design to the masses. In Haunted Bauhaus, art historian Elizabeth Otto liberates Bauhaus history, uncovering a movement that is vastly more diverse and paradoxical than previously assumed. Otto traces the surprising trajectories of the school’s engagement with occult spirituality, gender fluidity, queer identities, and radical politics. The Bauhaus, she shows us, is haunted by these untold stories.

The Bauhaus is most often associated with a handful of famous artists, architects, and designers—notably Paul Klee, Walter Gropius, László Moholy-Nagy, and Marcel Breuer. Otto enlarges this narrow focus by reclaiming the historically marginalized lives and accomplishments of many of the more than 1,200 Bauhaus teachers and students (the so-called Bauhäusler), arguing that they are central to our understanding of this movement. Otto reveals Bauhaus members’ spiritual experimentation, expressed in double-exposed “spirit photographs” and enacted in breathing exercises and nude gymnastics; their explorations of the dark sides of masculinity and emerging female identities; the “queer hauntology” of certain Bauhaus works; and the role of radical politics on both the left and the right—during the school’s Communist period, when some of the Bauhäusler put their skills to work for the revolution, and, later, into the service of the Nazis.

With Haunted Bauhaus, Otto not only expands our knowledge of a foundational movement of modern art, architecture, and design, she also provides the first sustained investigation of the irrational and the unconventional currents swirling behind the Bauhaus’s signature sleek surfaces and austere structures. This is a fresh, wild ride through the Bauhaus you thought you knew.

Bauhaus Women: A Global Perspective

By: Elizabeth Otto & Patrick Rössler (Bloomsbury/Herbert Press, 2019) 

Forty five key women of the Bauhaus movement.

Bauhaus Women: A Global Perspective
 reclaims the other half of Bauhaus history, yielding a new understanding of the radical experiments in art and life undertaken at the Bauhaus and the innovations that continue to resonate with viewers around the world today. 

The story of the Bauhaus has usually been kept narrow, localized to its original time and place and associated with only a few famous men such as Walter Gropius, Marcel Breuer, Paul Klee, Wassily Kandinsky, and László Moholy-Nagy. 

Bauhaus Women: A Global Perspective bursts the bounds of this slim history by revealing fresh Bauhaus faces: Forty-five Bauhaus women unjustifiably forgotten by most history books. Moving chronologically from the first women to enter the school to those who helped lead it through its last days in 1933, this book also widens the lens to reveal how the Bauhaus drew women from many parts of Europe and beyond, and how, through these cosmopolitan female designers, artists, and architects, it sent the Bauhaus message out into the world and to a global audience.

Paula Modersohn-Becker: Self-Portrait
Diane Radycki, (The Museum of Modern Art, 2019)
Paula Modersohn-Becker painted her last self-portrait in autumn 1907, while she was pregnant with her first child. In the painting she gazes straight at the viewer, holding up two flowers—symbols of the creativity and procreativity of women artists—and resting a protective hand atop her swelling belly. Modersohn-Becker would die three weeks after giving birth, at age thirty-one, still to be recognized as the first woman artist to challenge centuries of representations of the female body. Today this compelling work claims an important place at The Museum of Modern Art as the earliest painting by a woman on view in the collection galleries. Art historian Diane Radycki’s essay examines Modersohn-Becker’s self-portrait in depth, surveys the artist’s late career, and discusses her posthumous recognition.
Each volume in the One on One series is a sustained meditation on a single work from the collection of The Museum of Modern Art. A richly illustrated and lively essay illuminates the subject in detail and situates the work within the artist’s life and career as well as within broader historical contexts. This series is an invaluable guide for exploring and interpreting some of the most beloved artworks in the Museum’s collection. 48pp; 35 illus.

Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism’s Legendary Art School, 

Editor(s): Elizabeth Otto, Patrick Rössler, 2019

A century after the Bauhaus’s founding in 1919, this book reassesses it as more than a highly influential art, architecture, and design school. In myriad ways, emerging ideas about the body in relation to health, movement, gender, and sexuality were at the heart of art and life at the school. Bauhaus Bodies reassesses the work of both well-known Bauhaus members and those who have unjustifiably escaped scholarly scrutiny, its women in particular.


In fourteen original, cutting-edge essays by established experts and emerging scholars, this book reveals how Bauhaus artists challenged traditional ideas about bodies and gender. Written to appeal to students, scholars, and the broad public, Bauhaus Bodies will be essential reading for anyone interested in modern art, architecture, design history, and gender studies; it will define conversations and debates during the 2019 centenary of the Bauhaus’s founding and beyond.


Transformation: Art In East-Central Europe After 1989

Andrzej Szczerski, 2019

The year 1989 marked the end of one era and the beginning of another—the period of postcommunist transformation. Similar processes were taking place in other former Eastern Bloc countries that were declaring free elections, reclaiming full sovereignty, building democracy, and completely changing their economies in favor of free market capitalism. The several historic months in the latter half of 1989 came to be known as the “Autumn of Nations” and ushered in the total liberation of East-Central Europe from Soviet domination. Less than two years later, the Soviet Union itself collapsed, signaling the end of the Cold War in Europe. The new era brought not only political and economic changes, but also cultural ones which would lead to reclaiming individual liberties and other civil rights, as well as to the rebuilding of national identities within the European community which could now, finally, encompass the entire continent. Culture became a moving force for change, as censorship was abolished, monuments to communist heroes were removed, and streets renamed.

The radical cultural changes reverberated in the art of the period, its ideology, and the system of institutional sponsorship that promoted the three approaches most popular with artists. Many of them engaged in the changes directly, creating works that either commented on current events or proposed what they believed to be the right direction for the transformation to take. Others, although preferring to observe from a distance, highlighted the diverse contexts and historical antecedents generated by the cultural identities of countries, regions, or even artistic centers, in which the changes were rooted. The third contribution of contemporary art was its role in shaping how we remember the communist period, by on the one hand questioning the past, and on the other accenting the persistence of the traces it left behind, thereby inviting reflection on its negative as well as its positive ramifications. The art created in these circumstances and that related directly to the post-1989 transition, democracy, and a free market economy can be united under the name “art of the transformation” and it is the subject of this publication.

Luxury and Modernism: Architecture and the Object in Germany 1900-1933

Robin Schuldenfrei, 2018

Luxury and Modernism examines the status of the object within the context of Wilhelmine and Weimar architectural culture and theory. It argues that modernism responded to and reflected the norms and desires of a bourgeois elite—and that new and old forms of luxury are embedded accordingly in its materials, its showcasing of technology, and its discourses. This monograph looks specifically at such aspects as: the design and marketing of AEG electrical appliances by Peter Behrens and the notion of electricity as luxury in this period; the relationship between the design and materials of Bauhaus architecture and objects and failed efforts at affordable mass production of them; and notions of materiality and interiority in the domestic commissions of Ludwig Mies van der Rohe. Methodologically, this study reinterrogates key components of the canonical history of modernism using economic history, cultural studies, social history, sociology, and German history, to reveal new meanings in familiar objects of modernism.

Messerschmidt’s Character Heads: Maddening Sculpture and the Writing of Art History.

Michael Yonan, London: Routledge, 2018.

This book examines a famous series of sculptures by the German artist Franz Xaver Messerschmidt (1736–1783) known as his “Character Heads.” These are busts of human heads, highly unconventional for their time, representing strange, often inexplicable facial expressions. Scholars have struggled to explain these works of art.  Some have said that Messerschmidt was insane, while others suggested that he tried to illustrate some sort of intellectual system. Michael Yonan argues that these sculptures are simultaneously explorations of art’s power and also critiques of the aesthetic limits that would be placed on that power.

Constructing Imperial Berlin: Photography and the Metropolis

Miriam Paeslack, 2018,  University of Minnesota Press

How photography and a modernizing Berlin informed an urban image—and one another—in the late nineteenth and early twentieth centuries

This is the first book to critically assess, contextualize, and frame urban and architectural photographs of Berlin’s crucial Imperial years between 1871 and 1918. Imperial Berlin emerges as a modern metropolis, only half-heartedly inhibited by urban preservationist concerns and rather more akin to North American cities in their bold industrialization and competing urban expansions than to European counterparts.

The Twentieth Century German Art Exhibition: Answering Degenerate Art in 1930s London, 1st Edition

By Lucy Wasensteiner, 2018

This book represents the first study dedicated to Twentieth Century German Art, the 1938 London exhibition that was the largest international response to the cultural policies of National Socialist Germany and the infamous Munich exhibition Degenerate Art. Provenance research into the catalogued exhibits has enabled a full reconstruction of the show for the first time: its contents and form, its contributors and their motivations, and its impact both in Britain and internationally.

Presenting the research via six case-study exhibits, the book sheds new light on the exhibition and reveals it as one of the largest émigré projects of the period, which drew contributions from scores of German émigré collectors, dealers, art critics, and from the ‘degenerate’ artists themselves. The book explores the show’s potency as an anti-Nazi statement, which prompted a direct reaction from Hitler himself.

London 1938: Defending ‘degenerate’ art. With Kandinsky, Liebermann and Nolde against Hitler

By Lucy Wasensteiner  and Martin Faass, 2018

As a programmatic action of the Nazi cultural policy was opened in July 1937, the propaganda show “degenerate art” Munich and then wandered through several major German cities. In response to this campaign against modernity was the exhibition “20th Century German Art”, which was shown in 1938 in London and collected nearly 300 masterpieces of modern German art. The project was originally conceived by two women who run galleries in London and Zurich: Noel Norton and Irmgard Buchard. Then came Paul Westheim, the former ex-publisher of the “Kunstblatt” living in exile in Paris, before the British art critic Herbert Read won the prestigious New Burlington Galleries as an exhibition venue. About half of the exhibits came from German emigrants and artists, which were branded as “degenerate” by the National Socialists or persecuted as Jews. The spectrum of works ranged from Liebermann’s impressionism to the expressionism of the “Blaue Reiter” to the Bauhaus artists Paul Klee, Kandin sky and Schlemmer. Also represented were Max Beckmann and Nolde or the sculptors Barlach and Lehmbruck. The exhibition thus surpassed in scope and quality density even the legendary show of the New York Museum of Modern Art of 1931, but was forgotten by the soon after breaking out of World War II. As the most important cultural manifesto against the policies of the National Socialists, this event, which dates back to 2018 eighty years ago, is to be rediscovered. The Liebermann Villa in Berlin takes this anniversary as an opportunity to reconstruct the exhibition. In the run-up to the Berlin show, the Wiener Library, London, is showing a documentary exhibition with documents, plans and photographic interior views, thus closing a gap in German-British art history. The bilingual catalog is introduced by prefaces by Minister of State Monika GruVonters and Sebastian Wood, the British Ambassador to Germany.

Against the background of acute political tensions in London in the summer of 1938: Twentieth Century German Art. It is not only the first major retrospective of German modernist art in the English-speaking world. It was the first international response to the Nazi campaign against socially degenerate art. Published to mark the eightieth anniversary of this important cultural event, this catalog tells the story of the exhibition: the context in which it was staged, the circumstances of its organization, and its impact on Britain and further afield. The catalog accompanies two exhibitions taking place during 2018, at the Vienna Library in London and at the Liebermann-Villa am Wannsee in Berlin.

Bilingual German-English Bilingual edition in English and German

Art and Resistance in Germany, Editor(s): Deborah Ascher Barnstone, Elizabeth Otto, 2018

In light of the recent rise of right-wing populism in numerous political contexts and in the face of resurgent nationalism, racism, misogyny, homophobia, and demagoguery, this book investigates how historical and contemporary cultural producers have sought to resist, confront, confound, mock, or call out situations of political oppression in Germany, a country which has seen a dramatic range of political extremes during the past century.

While the current turn to nationalist populism is global, it is perhaps most disturbing in Germany, given its history with its stormy first democracy in the interwar Weimar Republic; its infamous National Socialist (Nazi) period of the 1930s and 1940s; and its split Cold-War existence, with Marxist-Leninist Totalitarianism in the German Democratic Republic and the Federal Republic of Germany’s barely-hidden ties to the Nazi past.

Equally important, Germans have long considered art and culture critical to constructions of national identity, which meant that they were frequently implicated in political action. This book therefore examines a range of work by artists from the early twentieth century to the present, work created in an array of contexts and media that demonstrates a wide range of possible resistance.

The Routledge Companion to Expressionism in a Transnational Context,
Edited by Isabel Wünsche, 2018

The Routledge Companion to Expressionism in a Transnational Context is a challenging exploration of the transnational formation, dissemination, and transformation of expressionism outside of the German-speaking world, in regions such as Central and Eastern Europe, the Baltics and Scandinavia, Western and Southern Europe, North and Latin America, and South Africa, in the first half of the twentieth century.

Comprising a series of essays by an international group of scholars in the fields of art history and literary and cultural studies, the volume addresses the intellectual discussions and artistic developments arising in the context of the expressionist movement in the various art centers and cultural regions. The authors also examine the implications of expressionism in artistic practice and its influence on modern and contemporary cultural production.

Essential for an in-depth understanding and discussion of expressionism, this volume opens up new perspectives on developments in the visual arts of this period and challenges the traditional narratives that have predominantly focused on artistic styles and national movements.

Joyce Tsai Laszlo Moholy-NagyPainting after Photography, University of  California Press, 2018

This provocative book examines crucial philosophical questions László Moholy-Nagy explored in theory and practice throughout his career. Why paint in a photographic age? Why work by hand when technology holds so much promise? The stakes of painting, or not painting, were tied to much larger considerations of the ways art, life, and modernity were linked for Moholy and his avant-garde peers. Joyce Tsai’s close analysis reveals how Moholy’s experience in exile led to his attempt to recuperate painting, not merely as an artistic medium but as the space where the trace of human touch might survive the catastrophes of war. László Moholy-Nagy: Painting after Photography will significantly reshape our view of the artist’s oeuvre, providing a new understanding of cultural modernism and the avant-garde.


Art and Theory of Post-1989 Central and Eastern Europe: A Critical Anthology

Ana Janevski, Roxana Marcoci, and Ksenia Nouril, editors, 2018

The fall of the Berlin Wall and the ripple effects felt over the following years from Bucharest to Prague to Moscow demarcate a significant moment when artists were able to publicly reassess their histories and question the opposition between the former East and the former West. Art and Theory of Post-1989 Central and Eastern Europe takes the pivotal political changes between 1989 and 1991 as its departure point to reflect on the effects that communism’s disintegration across Central and Eastern Europe—including the Soviet Union’s fifteen republics—had on the art practices, criticism, and cultural production of the following decades. This book presents a selection of the period’s key voices that have introduced recent critical perspectives. Particular attention is given to the research and viewpoints of a new generation of artists, scholars, and curators who have advanced fresh critical perspectives and who are rewriting their own histories. Their examination of artistic practices and systems of cultural production proposes distinct outlooks for acting in the contemporary world while simultaneously rethinking the significance of the socialist legacy on art today. Art and Theory of Post-1989 Central and Eastern Europe is an indispensable volume on modern and contemporary art and theory from the region.

Contributors: Branislava Andjelkovic, Edit András, Inke Arns, Marius Babias, Zdenka Badovinac, Ivana Bago, Zbynek Baladrán, Claire Bishop, Luchezar Boyadjiev, Andreas Broeckmann, Boris Buden, Ilya Budraitskis, Ondrej Chrobák, Keti Chukhrov, Kim Conaty, Cosmin Costinas, Eda Cufer, Bojana Cvejic, Ekaterina Degot, Branislav Dimitrijevic, Michelle Elligott, Octavian Esanu, Yevgeniy Fiks, Meghan Forbes, Maja Fowkes, Reuben Fowkes, Boris Groys, Daniel Grún, Marina Gržinic, Vít Havránek, Jon Hendricks, IRWIN (Miran Mohar, Andrej Savski, Roman Uranjek, and Borut Vogelnik), Sanja Ivekovic, Ana Janevski, David Joselit, Tímea Junghaus, Klara Kemp-Welch, Juliet Kinchin, Zofia Kulik, Andres Kurg, Katalin Ladik, Václav Magid, Eva Majewska, David Maljkovic, Roxana Marcoci, Lina Michelkevice, Aldo Milohnic, Viktor Misiano, Rastko Mocnik, Magdalena Moskalewicz, Deimantas Narkevicius, Ksenia Nouril, Ewa Opalka, Martina Pachmanová, Bojana Pejic, Dan Perjovschi, Nataša Petrešin-Bachelez, Piotr Piotrowski, Bojana Piškur, David Platzker, Paulina Pobocha, Tomáš Pospiszyl, Lýdia Pribišová, Oleksiy Radynski, Karol Radziszewski, Christian Rattemeyer, Cristina Ricupero, Georg Schöllhammer, David Senior, Alina ?erban, Slavs and Tatars, Sven Spieker, Tamas St.Auby, Zuzana Štefková, Jakub Stejskal, Mladen Stilinovic, subREAL, Tomás Svoboda, Ovidiu Ṯichindeleanu, Margarita Tupitsyn, Gediminas Urbonas, Nomeda Urbonas, Jonas Valatkevicius, Jelena Vesic, Dmitry Vilensky, Raluca Voinea, What, How & for Whom (Ivet Curlin, Ana Devic, Nataša Ilic, and Sabina Sabolovic), Igor Zabel, Artur Zmijewski

Four Metaphors of Modernism: From Der Sturm to the Société Anonyme
By Jenny Anger, 2018

“Where do the roots of art lie?” asked Der Sturm founder Herwarth Walden. “In the people? Behind the mountains? Behind the planets. He who has eyes to hear, feels.” Walden’s Der Sturm—the journal, gallery, performance venue, press, theater, bookstore, and art school in Berlin (1910–1932)—has never before been the subject of a book-length study in English. Four Metaphors of Modernism positions Der Sturm at the center of the avant-garde and as an integral part of Euro-American modern art, theory, and practice.

Jenny Anger traces Walden’s aesthetic and intellectual roots to Franz Liszt and Friedrich Nietzsche—forebears who led him to embrace a literal and figurative mixing of the arts. She then places Der Sturm in conversation with New York’s Société Anonyme (1920–1950), an American avant-garde group modeled on Der Sturm and founded by Katherine Sophie Dreier, Marcel Duchamp, and Man Ray. Working against the tendency to examine artworks and artist groups in isolation, Anger underscores the significance of both organizations to the development and circulation of international modernism.

Focusing on the recurring metaphors of piano, glass, water, and home, Four Metaphors of Modernism interweaves a historical analysis of these two prominent organizations with an aesthetic analysis of the metaphors that shaped their practices, reconceiving modernism itself. Presented here is a modernism that is embodied, gendered, multisensory, and deeply committed to metaphor and a restoration of abstraction’s connection with the real.

Megan Brandow-Faller (Ed.) Childhood by Design: Toys and the Material Culture of Childhood, 1700-Present, Bloomsbury, 2017

Informed by the analytical practices of the interdisciplinary ‘material turn’ and social historical studies of childhood, Childhood By Design: Toys and the Material Culture of Childhood offers new approaches to the material world of childhood and design culture for children. This volume situates toys and design culture for children within broader narratives on history, art, design and the decorative arts, where toy design has traditionally been viewed as an aberration from more serious pursuits. The essays included treat toys not merely as unproblematic reflections of socio-cultural constructions of childhood but consider how design culture actively shaped, commodified and materialized shifting discursive constellations surrounding childhood and children. Focusing on the new array of material objects designed in response to the modern ‘invention’ of childhood-what we might refer to as objects for a childhood by designChildhood by Design explores dynamic tensions between theory and practice, discursive constructions and lived experience as embodied in the material culture of childhood. Contributions from and between a variety of disciplinary perspectives (including history, art history, material cultural studies, decorative arts, design history, and childhood studies) are represented – critically linking historical discourses of childhood with close study of material objects and design culture.
Chronologically, the volume spans the 18th century, which witnessed the invention of the toy as an educational plaything and a proliferation of new material artifacts designed expressly for children’s use; through the 19th-century expansion of factory-based methods of toy production facilitating accuracy in miniaturization and a new vocabulary of design objects coinciding with the recognition of childhood innocence and physical separation within the household; towards the intersection of early 20th-century child-centered pedagogy and modernist approaches to nursery and furniture design; through the changing consumption and sales practices of the postwar period marketing directly to children through television, film and other digital media; and into the present, where the line between the material culture of childhood and adulthood is increasingly blurred.

Øystein Sjastad, Christian Krohg’s Naturalism, University of Washington Press, 2017

The Norwegian painter, novelist, and social critic Christian Krohg (1852-1925) is best known for his highly political paintings of workers, prostitutes, and Skagen fishermen of the 1880s and for serving as a mentor to Edvard Munch. One of the Nordic countries’ most avant-garde naturalist artists, he was highly influenced by French thinkers, including Emile Zola, Claude Bernard, and Hippolyte Taine, and shocked the provincial sensibilities of his time. Krohg’s work reached beyond the art world when his book Albertineand its related paintings were banned upon publication. The story of a young seamstress who turns to a life of prostitution, it galvanized support for outlawing prostitution in Norway, but Krohg was punished for its sexual content.

In Christian Krohg’s Naturalism, Oystein Sjastad examines the theories of Krohg and his fellow naturalists and their reception in Scandinavian intellectual circles, viewing Krohg from an international perspective and demonstrating how Krohg’s art made a striking contribution to European naturalism. In the process, he provides the definitive account of Krohg’s art in the English language.

Vittorio Magnago Lampugnani and Rainer Schützeichel (Eds.) Die Stadt als Raumentwurf Theorien und Projekte im Städtebau seit dem Ende des 19. Jahrhunderts, Berlin/Munich: Deutscher Kunstverlag, 2017

The preoccupation with space – a central subject in philosophy, psychology and art theory since the late 19th century – has fundamentally influenced city planning. In the course of the discipline’s institutional anchoring, the urban environment has been (re-)discovered and processed through urban development theory as a design object. The design of urban spaces oriented to humans, a human scale, and our sensory perceptions was recognized as a remedy against the technocratically and economically determined urban development, backed by investors, that tended to prevail in the drawing table quarters of European city expansion. This book is dedicated to an early “spatial turn” in urban design theory in Germany during the decades around 1900.

Artists in Exile: Expressions of Loss and Hope By Frauke V. Josenhans
With essays by Marijeta Bozovic, Joseph Leo Koerner, and Megan R. Luke

This timely book offers a wide-ranging and beautifully illustrated study of exiled artists from the 19th century through the present day, with notable attention to individuals who have often been relegated to the margins of publications on exile in art history. The artworks featured here, including photography, paintings, drawings, prints, and sculpture, present an expanded view of the conditions of exile—forced or voluntary—as an agent for both trauma and ingenuity.

The introduction outlines the history and perception of exile in art over the last 200 years, and the book’s four sections explore its aesthetic impact through the themes of home and mobility, nostalgia, transfer and adjustment, and identity. Essays and catalogue entries in each section showcase diverse artists, including not only European ones—like Jacques-Louis David, Paul Gauguin, George Grosz, and Kurt Schwitters—but also female, African American, East Asian, Latin American, and Middle Eastern artists, such as Elizabeth Catlett, Harold Cousins, Mona Hatoum, Lotte Jacobi, An-My Lê, Matta, Ana Mendieta, Abelardo Morell, Mu Xin, and Shirin Neshat.

SUBJECTIVE OBJECTIVE: A Century of Social Photography
Edited by Donna Gustafson, Andrés Mario Zervigón

Generously illustrated with photographs from early twentieth century reformers to contemporary artists, this collection of essays re-examines the genre of social documentary photography through the shifting lens of photographic objectivity, modes of dissemination, and the passions animating documentary projects.

While the public’s acceptance of photographs as visual evidence made documentary photography possible, canny interventions employed by image makers and their editors alternately exploit and dismantle assumptions of the medium’s transparency, testing our wish to see pictures inspire social change.
Among the photographers included in the exhibition and book are Berenice Abbott, Max Alpert, William Castellana, Walker Evans, Larry Fink, LaToya Ruby Frazier, Lewis Hine, Boris Ignatovich, Dorothea Lange, Igor Moukhin, Gordon Parks, Alexander Rodchenko, Arthur Rothstein, Sebastião Salgado, Arkady Shaikhet, Aaron Siskind, W. Eugene Smith, Weegee et al.

With contributions by D. Gustafson, S. M. Miller, J. Tulovsky, A. M. Zervigón


Photography and Doubt
Edited by Sabine T. Kriebel, Andrés Mario Zervigón

Recent decades have seen photography’s privileged relationship to the real come under question. Spurred by the postmodern critique of photography in the 1980s and the rise of digital technologies soon thereafter, scholars have been asking who and what built this understanding of the medium in the first place.

Photography and Doubt reflects on this interest in photography’s referential power by discussing it in rigorously historical terms. How was the understanding of photographic realism cultivated in the first place? What do cases of staged and manipulated photography reveal about that realism’s hold on audiences across the medium’s history? Have doubts about photography’s testimonial power stimulated as much knowledge as its realism?

Edited by Sabine T. Kriebel and Andrés Mario Zervigón, Photography and Doubt is the first multi-authored collection specifically designed to explore these questions. Its 13 original essays, illustrated with 73 color images, explore cases when the link between the photographic image and its referent was placed under stress, and whenphotography was as attuned to its myth-making capabilities as to its claims to authenticity.

Photography and Doubt will serve as a valuable resource for students and scholars in art history, visual and media studies, philosophy, and the history of science and technology.

Photography and Germany
By Andrés Mario Zervigón

The meeting of photography and Germany evokes pioneering modernist pictures from the Weimar era and colossal digital prints that define the medium’s art practice today. It also recalls horrifying documents of wartime atrocity and the relentless surveillance of East German citizens. Photography and Germany broadens these perceptions by examining photography’s multi-faceted relationship with Germany’s turbulent cultural, political and social history. It shows how many of the same phenomena that helped generate the country’s most recognizable photographs also led to a range of lesser-known pictures that similarly documented or negotiated Germany’s cultural identity and historical ruptures.

The book rethinks the photography we commonly associate with the country by focus­ing on how the medium heavily defined the notion of ‘German’. As a product of the modern age, photography intervened in a fraught project of national imagining, largely productively but sometimes catastrophically. Photography and Germany covers this history chronologically, from early experiments in light-sensitive chemicals to the tension between analogue and digital technologies that have stimulated the famous contemporary art photography associated with the country.

Richly illustrated with many previously unpublished images, this is the first single-authored history of German photography.

Marianne Werefkin and the Women Artists in Her Circle
Edited by Tanja Malycheva and Isabel Wünsche

Marianne Werefkin and the Women traces the relationships between the modernist artists in Werefkin’s circle, including Erma Bossi, Elisabeth Epstein, Natalia Goncharova, Elizaveta Kruglikova, Else Lasker-Schüler, Marta Liepiņa-Skulme, Elena Luksch-Makowsky, and Maria Marc. The book demonstrates that their interactions were dominated not primarily by national ties, but rather by their artistic ideas, intellectual convictions, and gender roles; it offers an analysis of the various artistic scenes, the places of exchange, and the artists’ sources of inspiration. Specifically focusing on issues of cosmopolitan culture, transcultural dialogue, gender roles, and the building of new artistic networks, the collection of essays re-evaluates the contributions of these artists to the development of modern art. Contributors: Shulamith Behr, Marina Dmitrieva, Simone Ewald, Bernd Fäthke, Olga Furman, Petra Lanfermann, Tanja Malycheva, Galina Mardilovich, Antonia Napp, Carla Pellegrini Rocca, Dorothy Price, Hildegard Reinhardt, Kornelia Röder, Kimberly A. Smith, Laima Laučkaitė-Surgailienė, Baiba Vanaga, and Isabel Wünsche

Open Access:


Friedrich Feigl, 1884-1965
Edited by Nicholas Sawicki, with contributions by Rachel Dickson, Zuzana Duchková, Arno Pařík, Sarah MacDougall, and Nicholas Sawicki

Friedrich Feigl was a pivotal figure in the history of modern art in the Czech lands and central Europe. A painter, printmaker, and illustrator of extraordinarily broad scope and vision, Feigl was among the most prolific and internationally connected modern artists to emerge from Prague in the first half of the twentieth century. Active in Prague and Berlin, Feigl exhibited widely and gained particular attention for his innovative graphic art and book illustrations, and his work on biblical motifs. As the political situation in Germany worsened in 1933, Feigl traveled briefly to Palestine before returning to Prague. He remained there until the German occupation in 1939, when he left Czechoslovakia for London. There he gradually rebuilt his artistic career, joining the large community of émigrés displaced to England by Nazi oppression, many of them Jewish like himself. The present monograph traces the complex, often turbulent story of Feigl’s life and work, from his beginnings in Prague and Berlin through his later years in London. It is published in association with the exhibition Friedrich Feigl: The Eye Sees the World (Friedrich Feigl: Oko vidí svět), held at the Galerie výtvarného umění v Chebu (30 June-25 September 2016) and Alšova jihočeská galerie in České Budějovice (27 January-16 April 2017).


practicesPractices of Abstract Art: Between Anarchism and Appropriation
Editors: Isabel Wünsche, Wiebke Gronemeyer. With contributions by Isabel Wünsche, Naomi Hume, Rose-Carol Washton Long, Viktoria Schindler, Aarnoud Rommens, Nieves Acedo del Barrio, Gordon Monro, Birgit Mersmann, Dorothea Schöne, Elena Korowin, Marilyn Martin, Wendy Kelly, Wiebke Gronemeyer, Pamela C. Scorzin

Recent decades have seen a renewed interest in the phenomenon of abstract art, particularly regarding its ability to speak to the political, social, and cultural conditions of our times. This collection of essays, which looks at historical examples of artistic practice from the early pioneers of abstraction to late modernism, investigates the ambivalent role that abstraction has played in the visual arts and cultures of the last hundred years. In addition, it explores various theoretical and critical narratives that seek to articulate new perspectives on its legacy in the visual arts. From metaphysical considerations and philosophical reflections to debates on interculturality and global perspectives, the contributors examine and reconsider abstraction in the visual arts from a contemporary point of view that acknowledges the many social, economic, cultural, and political aspects of artistic practice. As such, the volume progressively expands the boundaries of thinking about abstract art by engaging it in its increasingly diverse cultural environment.


dadaglobeDadaglobe Reconstructed
With Contributions by Adrian Sudhalter, Michel Sanouillet, Cathérine Hug, Samantha Friedman, Lee Ann Daffner, and Karl D. Buchberg

Dadaglobe was to be the definitive anthology of the Dada movement. Had it been published in 1921 as planned, it would have constituted more than one hundred artworks by some thirty artists from seven countries, showing Dada to be an artistic and literary movement with truly global reach. Yet, mainly due to a lack of funding, it remained unpublished, a remarkable void in the literature on this early-twentieth-century movement.
On the one-hundredth anniversary of the founding of Dada in Zurich, Dadaglobe Reconstructed restores this fascinating literary artifact with reproductions of the works of art received by the Romanian poet and cofounder of the Dada movement Tristan Tzara. Tzara’s call for submissions in four categories—drawings, photographs of artworks, photographic self-portraits, and book layouts—was met not merely with existing works. In fact, the parameters for production also served as a catalyst for the creation of many new ones, including some of the Dada movement’s most iconic works. For the first time, the collection is presented here in full color and alongside essays examining Tzara’s concept and the history of Dada and Dadaglobe.
Based on years of extensive research by American scholar Adrian Sudhalter, Dadaglobe Reconstructed provides a remarkable view of Dada, with a wealth of previously unpublished material. It will be essential—and fascinating—reading for anyone interested in the first truly international avant-garde movement.


9781606064757Futurist Painting Sculpture (Plastic Dynamism)
Umberto Boccioni, Introduction by Maria Elena Versari, Translation by Richard Shane Agin and Maria Elena Versari

Futurist Painting Sculpture (Plastic Dynamism), a truly radical book by Umberto Boccioni (1882–1916), claimed a central position in artistic debates of the 1910s and 1920s, exerting a powerful influence on the Italian Futurist movement as well as on the entire European historical avant-garde, including Dada and Constructivism.
Today, Boccioni is best known as an artist whose paintings and sculptures are prized for their revolutionary aesthetic by American and European museums. But Futurist Painting Sculpture demonstrates that he was also the foremost avant-garde theorist of his time. In his distinctive, exhilarating prose style, Boccioni not only articulates his own ideas about the Italian movement’s underpinnings and goals but also systematizes the principles expressed in the vast array of manifestos that the Futurists had already produced. Featuring photographs of fifty-one key works and a large selection of manifestos devoted to the visual arts, Boccioni’s book established the canon of Italian Futurist art for many years to come.
First published in Italian in 1914, Futurist Painting Sculpture has never been available in English—until now. This edition includes a critical introduction by Maria Elena Versari. Drawing on the extensive Futurist archives at the Getty Research Institute, Versari systematically retraces, for the first time, the evolution of Boccioni’s ideas and arguments; his attitude toward contemporary political, racial, philosophical, and scientific debates; and his polemical view of Futurism’s role in the development of modern art.


LiebermannMax Liebermann: Modern Art and Modern Germany
Marion F. Deshmukh

Max Liebermann: Modern Art and Modern Germany is the first English-language examination of this German impressionist painter whose long life and career spanned nine decades. Through a close reading of key paintings and by a discussion of his many cultural networks across Germany and throughout Europe, this study by Marion Deshmukh illuminates Liebermann’s importance as a pioneer of German modernism. Critics and admirers alike saw his art as representing aesthetic European modernism at its best. His subjects included dispassionate depictions of the rural Dutch countryside, his colorful garden at the Wannsee, and his many portraits of Germany’s cultural, political, and military elites. Liebermann was the largest collector of French Impressionism in Germany – and his cosmopolitan outlook and his art created strong antipathies towards both by political and cultural conservatives.


okladkaThe search for cultural identity in Eastern and Central Europe 1919-2014
Edited by Irena Kossowska

The topic of this volume was inspired by Milan Kundera’s famous article published in 1983 under the title Un Occident kidnappé ou la tragédie de l’Europe Centrale: a text which revived the dispute over the geopolitical and geo-cultural concepts of Central Europe. “The search for cultural identity” is a polyphonic voice in this debate, though the articles included here do not offer any final conclusion to the boundaries and the character – historical, political, and cultural – of the macro-region in question.
The chronological frame of this volume opens up with the year 1919, when France, Italy and Germany adopted the “return to order” ideology, which rapidly spread in the newly established states of Central and Eastern Europe in a form of idiosyncratic nationalisms. The year 2014 was, in turn, a time of retrospection in the countries of the former Eastern Bloc, which (re)gained democracy being at the same time subject to the pressure of outside factors (economic, legal and cultural in the first place) that were different from the pre-1989 ones. The years of political and economic transformation in Europe after the Fall of Berlin Wall were marked by a renewal of interest in the paradigm of national/regional/local identity and the return of traditions which were abandoned/lost during the Cold War as well as the time of worldwide globalization and cultural integration of the Continent. On the opposite side of the national/ethnic/religious self-identification, feminism, Gender and Queer Studies have strengthened their positions, and the tension emerging among the aforementioned stances generates a wide field for discourse on the contemporary condition of a human being, and the idioms of activity/contestation within the democratic society.
“The search for cultural identity” diagnoses diverse attempts to revive or create national/local narratives, as well as various formulae of emphasizing sexual identity with regard to the interwar period, the time of the Iron Curtain and the twenty-five years which have gone by since the abolition of the Cold War demarcation of Europe. What is of equal importance for the discourse of this book is the individual artistic experience, perceived here in the context of increasingly conspicuous resistance to global homogenization and neocolonialism in the cultural sphere. The phenomena of glocalization, to use the terminology of the social sciences, cushioning the effects of the dominance of western cultural models, constitute an important point of reference in the articles incorporated into this volume: a point which enables enhancing the value of local specificity and cultural distinctiveness.


mnagyRoman Vishniac Rediscovered
by Maya Benton

Drawn from the International Center of Photography’s vast holdings of work by Roman Vishniac (1897–1990), this generously illustrated and expansive volume offers a new and profound consideration of this key modernist photographer. In addition to featuring Vishniac’s best-known work—the iconic images of Jewish life in Eastern Europe before the Holocaust—this publication also introduces many previously unpublished photographs spanning more than six decades of Vishniac’s work. These include newly discovered images of prewar Berlin, rare film footage from rural Jewish communities in Carpathian Ruthenia, documentation of postwar ruins and Displaced Persons’ camps, and vivid coverage of Jewish life in America in the 1940s and ’50s.
Essays by world-renowned scholars of photography, Jewish history and culture address these newfound images and consider them in the context of modernist tendencies in Berlin in the 1920s and ’30s; the rise of Nazi power in Germany and Eastern Europe; the uses of social documentary photography for relief organizations; the experiences of exile, displacement, and assimilation; and the impact of Vishniac’s pioneering scientific research in color photomicroscopy in the 1950s and ’60s. This first retrospective monograph on Roman Vishniac offers many new perspectives on the work and career of this important photographer, positioning him as one of the great modernists and social documentary photographers of the last century.


The Views of Albion: The Reception of British Art and Design in Central Europe, 1890–1918
by Andrzej Szczerski

Views of Albion is the first comprehensive study of the reception of British art and design in Central Europe at the turn of the twentieth century. The author proposes a new map of European Art Nouveau, where direct contacts between peripheral cultures were more significant than the influence of Paris. These new patterns of artistic exchange, often without historic precedence, gave art during this period its unique character and dynamism. Beginning with an analysis of the concept of Central Europe, the book examines knowledge about British art and design in the region. In subsequent chapters the author looks at the reception of the Pre-Raphaelites in painting and graphic arts as well as analysing diverse responses to the Arts and Crafts Movement in Germany, Austria, Poland, Bohemia, Slovakia, Hungary and Southern Slavic countries. The epilogue reveals the British interest in Central Europe, echoed in the designs Walter Crane, Charles Robert Ashbee and publications of The Studio. The book questions the insularity of British culture and offers new insights into art and design of Central Europe at the fin de siècle. It presents the region as a vital part of the international Art Nouveau, but also shows its specific features, visible in the works of artists such as Alfons Mucha, Gustav Klimt and Stanisław Wyspiański.


mnagyThe Paintings of Moholy-Nagy: The Shape of Things to Come
by Joyce Tsai

László Moholy-Nagy (1895–1946) became notorious for the declarations he made about the end of painting, encouraging artists to exchange brush, pigment, and canvas for camera, film, and searchlight. Even as he made these radical claims, he painted throughout his career. The practice of painting enabled Moholy-Nagy to imagine generative relationships between art and technology, and to describe the shape that future possibilities might take. Joyce Tsai illuminates the evolution of painting’s role for Moholy-Nagy through key periods in his career: at the German Bauhaus in the 1920s, in the Netherlands and the United Kingdom in the early 1930s, and as director of the New Bauhaus in Chicago in the last decade of his life. The book also includes an introduction to the history, qualities, and significance of plastic materials that Moholy-Nagy used over the course of his career, and an essay on how his project of shaping habitable space in his art and writing resonated with artists and industrial designers in the 1960s and 1970s.


kleePaul Klee: The Visible and the Legible
by Annie Bourneuf

The fact that Paul Klee (1879–1940) consistently intertwined the visual and the verbal in his art has long fascinated commentators from Walter Benjamin to Michel Foucault. However, the questions it prompts have never been satisfactorily answered—until now. In Paul Klee, Annie Bourneuf offers the first full account of the interplay between the visible and the legible in Klee’s works from the 1910s and 1920s.

Bourneuf argues that Klee joined these elements to invite a manner of viewing that would unfold in time, a process analogous to reading. From his elaborate titles to the small scale he favored to his metaphoric play with materials, Klee created forms that hover between the pictorial and the written. Through his unique approach, he subverted forms of modernist painting that were generally seen to threaten slow, contemplative viewing. Tracing the fraught relations among seeing, reading, and imagining in the early twentieth century, Bourneuf shows how Klee reconceptualized abstraction at a key moment in its development.


heimatHeimat Photography in Austria: A Politicized Vision of Peasants and Skiers / Heimatfotografie in Österreich: eine politisierte Sicht von Bauern und Skifahren
by Elizabeth Cronin

Photographs of peasants, churchgoers, skiers, and alpine landscapes in magazines, books, and exhibitions informed the visual culture of Austria in the 1930s. Used by the authoritarian Ständestaat to glorify traditional values and establish a backward-looking Austrian identity, the same pictures of pristine mountain idylls, picturesque work in the fields, and local costume groups also served to massively propagate Austria as a tourist destination. Aesthetically demanding and partly influenced by the New Vision movement, the Heimat photographs of the main protagonists—Rudolf Koppitz, Peter Paul Atzwanger, Simon Moser, Stefan Kruckenhauser, Adalbert Defner, and Wilhelm Angerer—were, irrespective of political discontinuities, widely disseminated well into postwar Austria.

German-language edition translated by Wolfgang Astelbauer (English); (German)


groszThe Exile of George Grosz: Modernism, America, and the One World Order
by Barbara McCloskey

The Exile of George Grosz examines the life and work of George Grosz after he fled Nazi Germany in 1933 and sought to re-establish his artistic career under changed circumstances in New York. It situates Grosz’s American production specifically within the cultural politics of German exile in the United States during World War II and the Cold War. Basing her study on extensive archival research and using theories of exile, migrancy, and cosmopolitanism, McCloskey explores how Grosz’s art illuminates the changing cultural politics of exile. She also foregrounds the terms on which German exile helped to define both the limits and possibilities of American visions of a one world order under U.S. leadership that emerged during this period. This book presents Grosz’s work in relation to that of other prominent figures of the German emigration, including Thomas Mann and Bertolt Brecht, as the exile community agonized over its measure of responsibility for the Nazi atrocity German culture had become and debated what Germany’s postwar future should be. Important too at this time were Grosz’s interactions with the American art world. His historical allegories, self-portraits, and other works are analyzed as confrontational responses to the New York art world’s consolidating consensus around Surrealism and Abstract Expressionism during and after World War II. This nuanced study recounts the controversial repatriation of Grosz’s work, and the exile culture of which it was a part, to a German nation perilously divided between East and West in the Cold War.


sensing_coverSensing the Future: Moholy-Nagy, Media and the Arts
by Oliver Botar

Life in the digital economy of information and images enriches us but often induces a sense of being overwhelmed. Sensing the Future: Moholy-Nagy, Media and the Arts considers the impact of technology by exploring ways it was addressed in the practice of the Hungarian polymath artist László Moholy-Nagy (1895-1946), a prominent professor at the Bauhaus and a key fi gure in the history of Modernism. Moholy-Nagy felt that people needed guidance to cope with the onslaught of sensory input in an increasingly technologized, mediatized, hyper-stimulating environment. His ideas informed media theorists such as Walter Benjamin, John Cage, Sigfried Giedion, and Marshall McLuhan, who anticipated digital culture as it emerged. Should we then regard Moholy-Nagy as a pioneer of the digital? His aesthetic engagement with the technology/body problematic broached the notions of immersion, interactivity and bodily participation, innately offering a critique of today’s disembodiment. Was he then both a pioneer and a proto-critic of the digital? This book is intended to introduce this seminal fi gure of post-medial practices to younger generations and, by including responses to his work by contemporary artists, to refl ect on the ways in which his work is relevant to artistic practice now.


arch_politicsArchitecture, Politics, and Identity in Divided Berlin
by Emily Pugh

On August 13, 1961, under the cover of darkness, East German authorities sealed the border between East and West Berlin using a hastily constructed barbed wire fence. Over the next twenty-eight years of the Cold War, the Berlin Wall grew to become an ever-present physical and psychological divider in this capital city and a powerful symbol of Cold War tensions. Similarly, stark polarities arose in nearly every aspect of public and private life, including the built environment.

In Architecture, Politics, and Identity in Divided Berlin Emily Pugh provides an original comparative analysis of selected works of architecture and urban planning in both halves of Berlin during the Wall era, revealing the importance of these structures to the formation of political, cultural, and social identities. Pugh uncovers the roles played by organizations such as the Foundation for Prussian Cultural Heritage and the Building Academy in conveying the political narrative of their respective states through constructed spaces. She also provides an overview of earlier notable architectural works, to show the precursors for design aesthetics in Berlin at large, and considers projects in the post-Wall period, to demonstrate the ongoing effects of the Cold War.

Overall, Pugh offers a compelling case study of a divided city poised between powerful contending political and ideological forces, and she highlights the effort expended by each side to influence public opinion in Europe and around the World through the manipulation of the built environment.


klingerMax Klinger and Wilhelmine Culture: On the Threshold of German Modernism
by Marsha Morton

The Wilhelmine Empire’s opening decades (1870s – 1880s) were crucial transitional years in the development of German modernism, both politically and culturally. Here Marsha Morton argues that no artist represented the shift from tradition to unsettling innovation more compellingly than Max Klinger. The author examines Klinger’s early prints and drawings within the context of intellectual and material transformations in Wilhelmine society through an interdisciplinary approach that encompasses Darwinism, ethnography, dreams and hypnosis, the literary Romantic grotesque, criminology, and the urban experience. His work, in advance of Expressionism, revealed the psychological and biological underpinnings of modern rational man whose drives and passions undermined bourgeois constructions of material progress, social stability, and class status at a time when Germans were engaged in defining themselves following unification.

This book is the first full-length study of Klinger in English and the first to consistently address his art using methodologies adopted from cultural history. With an emphasis on the popular illustrated media, Morton draws upon information from reviews and early books on the artist, writings by Klinger and his colleagues, and unpublished archival sources. The book is intended for an academic readership interested in European art history, social science, literature, and cultural studies.


sawicki_osmaNa cestě k modernosti: Umělecké sdružení Osma a její okruh v letech 1900-1910 (On a Path to Modernity: The Eight and Its Circle in the Years 1900-1910)
by Nicholas Sawicki

Formed in the first decade of the 20th century, the modernist group known as the ‘Eight’, which referred to itself by the Czech name ‘Osma’ and the German ‘Die Acht’, was one of the most influential artistic movements in Prague before the First World War. Comprising artists of Czech, German and Jewish backgrounds, it included such prominent painters as Vincenc Beneš, Friedrich Feigl, Emil Filla, Max Horb, Otakar Kubín, Bohumil Kubišta, Willi Nowak, Emil Pittermann, Antonín Procházka and Linka Scheithauerová. The Eight played a fundamental role in the development of modern art and modernism in Prague and its environs, and its members and affiliates have long been recognized as foundational figures in the history of 20th-century Czech art.

Relying on new archival, textual and visual sources, “On a Path to Modernity,” presents a close examination of the artists and their work, and of the social and cultural context in which they operated. The book traces the shared practices, beliefs and concerns that brought the Eight together, and considers aspects of the group’s history that have not yet been documented in scholarship. In particular, it examines the relationship that the Eight had with the public, critics and institutions of Prague, and the reception that the group garnered from audiences and the press. It also investigates the group’s mixed ethnic composition, which voluntarily brought together artists of both Czech and German identity, Christian as well as Jewish, at a time when Prague and late imperial Austria-Hungary were strongly divided along national lines.


schwittersKurt Schwitters: Space, Image, Exile
by Megan Luke

German artist Kurt Schwitters (1887–1948) is best known for his pioneering work in fusing collage and abstraction, the two most transformative innovations of twentieth-century art. Considered the father of installation art, Schwitters was also a theorist, a Dadaist, and a writer whose influence extends from Robert Rauschenberg and Eva Hesse to Thomas Hirschhorn. But while his early experiments in collage and installation from the interwar period have garnered much critical acclaim, his later work has generally been ignored. In the first book to fill this gap, Megan R. Luke tells the fascinating, even moving story of the work produced by the aging, isolated artist under the Nazi regime and during his years in exile.

Combining new biographical material with archival research, Luke surveys Schwitters’s experiments in shaping space and the development of his Merzbau, describing his haphazard studios in Scandinavia and the United Kingdom and the smaller, quieter pieces he created there. She makes a case for the enormous relevance of Schwitters’s aesthetic concerns to contemporary artists, arguing that his later work provides a guide to new narratives about modernism in the visual arts. These pieces, she shows, were born of artistic exchange and shaped by his rootless life after exile, and they offer a new way of thinking about the history of art that privileges itinerancy over identity and the critical power of humorous inversion over unambiguous communication. Packed with images, Kurt Schwitters completes the narrative of an artist who remains a considerable force today.


bohemian landsWładcy snów. Symbolizm na ziemiach czeskich 1880-1914 / Masters of Dreams: Symbolism in the Bohemian Lands 1880-1914
by Otto M. Urban, Irena Kossowska, and Adam Hnojil

“Masters of Dreams” has been published on the occasion of a comprehensive presentation of Bohemian art of the turn of the 19th century at the gallery of the International Cultural Centre in Krakow, being an effect of a long-lasting cooperation between the Centre and the Olomouc Museum of Art. The narrative of the book emphasizes the contribution of numerous artists active in the Bohemian lands to the complex mapping of the art scene in Europe of the late 1890s and the first two decades of the 20th century. The authors’ discourse contextualizes Bohemian Symbolism in relation to the West European art trends as well as confronts Czech developments with the exponents of Young Poland. Thus both the special cultural position of Prague seen in the context of the Austria-Hungary Empire and the interconnections with the artistic milieu in Krakow have been open to question.

“Masters of Dreams” expounds the idiosyncratic features, the richness and the universal dimension of Bohemian Symbolism, an important chapter of the European avant-garde, at the threshold of the First World War. Symbolism paved the way for Czech artists to the salons of Europe – a path followed by Alfons Mucha and Karel Hlaváček, Jan Preisler and František Kupka. Around 1900 the Bohemian lands exemplified economic success on a European scale, and the wealthy Bohemian bourgeois eagerly supported the buoyant burgeoning of artistic life. Prague – the scene of rivalry between Bohemian and German cultures; Prague – one of the key artistic metropolises of contemporary Europe – also became the center of the Czech national awakening.


intimate collaborationsIntimate Collaborations: Kandinsky and Münter, Arp and Taeuber
by Bibiana K. Obler

This compelling examination of the work and lives of Expressionist artists Wassily Kandinsky and Gabriele Münter and Dadaists Hans Arp and Sophie Taeuber illuminates the roles of gender and the applied arts in abstraction’s early days. Both couples, like Expressionism and Dada more generally, strived to transcend the fragmented individualism promoted by capitalism. Through abstraction and by unsettling the boundaries between the decorative and fine arts, they negotiated tensions between the philosophical and commercial aspects of their production. Both pairs were feminist—the women ambitious and the men supportive of their work—but theirs was a feminism that embraced differences between the sexes. This innovative look at the personal relationships of two influential artist couples shows how everyday life—mundane concerns along with spiritual and intellectual endeavors—informed the development of abstraction.


revolutionary beautyRevolutionary Beauty: The Radical Photomontages of John Heartfield
by Sabine T. Kriebel

Revolutionary Beauty offers the first sustained study of the German artist John Heartfield’s groundbreaking political photomontages, published in the left-wing weekly Arbeiter Illustrierte Zeitung (AIZ) during the 1930s. Sabine T. Kriebel foregrounds the critical artistic practices with which Heartfield directly confronted the turbulent, ideologically charged currents of interwar Europe, exposing the cultural politics of the crucial historical moment that witnessed the consolidation of National Socialism. In this period of radicalization and mass mobilization, the medium of photomontage—the cut-and-paste assemblage of photograph and text—offered a way to deconstruct the visual world and galvanize beholders on a mass scale.


pmb bookPaula Modersohn-Becker: The First Modern Woman Artist
by Diane Radycki

Considered one of the most important of the early German modernists, the painter Paula Modersohn-Becker (1876–1907) challenged traditional representations of the female body in art. She was the first modern woman artist to paint herself nude, as well as mothers and children nude. She also created the first self-portrait while pregnant in the history of art. Modersohn-Becker painted the life she was living as a woman and artist and led the way for generations of women artists. Tragically, her life and career were cut short at age thirty-one, following complications from childbirth.

Diane Radycki examines the artist’s fascinating biography, highlighting her friendships with poet Rainer Maria Rilke and sculptor Clara Rilke-Westhoff as well as her personal anguish, including years in an unconsummated marriage, a disappointing affair, and irresolution about motherhood. Radycki also details the genres of Modersohn-Becker’s work: figure (especially nudes), still life, and landscape; and the reception of her work following her death. This new book is an authoritative source on Modersohn-Becker, who Radycki convincingly portrays as the first significant woman artist in the history of modernism.


“Compelling,” Roberta Smith, New York Times, 2016
“Livre d’une rare intelligence,” Stephane Guegan, Le Monde, 2016


TelehorTelehor: the International New Vision, Facsimile reprint and Commentary
edited by Klemens Gruber and Oliver Botar

In 1936 the first and only issue of the magazine telehor (Greek for tele-vision) was released in four languages, as a special edition on and by László Moholy-Nagy. The facsimile reprint of the magazine is accompanied by a commentary volume. The reprint makes the magazine accessible again in terms of its artistic and theoretical-historical dimensions. Particular attention has been paid to the production process. Thus the volume appears spiral-bound, an ultramodern technique in the mid-1930s. The commentary contains an editorial statement that places the magazine, telehor, in the context of the art and media of the 1920s and 1930s and unlocks the position of the artistic avant-garde at the intersection of two epochs.

It also contains new translations of the original texts: in Mandarin, Russian, Hungarian and Spanish.

Rowe, After DadaAfter Dada: Marta Hegemann and the Cologne avant-garde
by Dorothy Rowe

What happened in 1920s Cologne ‘after Dada’? Whilst most standard accounts of Cologne Dada simply stop with Max Ernst’s departure from the city for a new life as a surrealist in Paris, this book reveals the untold stories of the Cologne avant-garde that prospered after Dada but whose legacies have been largely forgotten or neglected. It focuses on the little-known Magical Realist painter Marta Hegemann (1894–1970). By re-inserting her into the histories of avant-garde modernism, a fuller picture of the gendered networks of artistic and cultural exchange within Weimar Germany can be revealed. This book embeds her activities as an artist within a gendered network of artistic exchange and influence in which Ernst continues to play a vital role amongst many others including his first wife, art critic Lou Straus-Ernst; photographers August Sander and Hannes Flach; artists Angelika Fick, Heinrich Hoerle, Willy Fick and the Cologne Progressives and visitors such as Kurt Schwitters and Katherine Dreier.

The book offers a significant addition to research on Weimar visual culture and will be invaluable to students and specialists in the field.

The Oxford Critical and Cultural History of Modernist MagazinesThe Oxford Critical and Cultural History of Modernist Magazines Volume III: Europe 1880 – 1940
edited by Peter Brooker, Sascha Bru, Andrew Thacker, and Christian Weikop

The third of three volumes devoted to the cultural history of the modernist magazine in Britain, North America, and Europe, this collection contains fifty-six original essays on the role of ‘little magazines’ and independent periodicals in Europe in the period 1880-1940. It demonstrates how these publications were instrumental in founding and advancing developments in European modernism and the avant-garde.

Expert discussion of approaching 300 magazines, accompanied by an illuminating variety of cover images, from France, Italy, Germany, Spain and Portugal, Scandinavia, Central and Eastern Europe will significantly extend and strengthen the understanding of modernism and modernity. The chapters are organised into six main sections with contextual introductions specific to national, regional histories, and magazine cultures. Introductions and chapters combine to elucidate the part played by magazines in the broader formations associated with Symbolism, Expressionism, Futurism, Dada, Surrealism, and Constructivism in a period of fundamental social and geo-political change. Individual essays, situated in relation to metropolitan centres bring focussed attention to a range of celebrated and less well-known magazines, including Le Chat Noir, La Revue blanche, Le Festin d’Esope, La Nouvelle Revue Française, La Révolution Surréaliste, Documents,De Stijl, Ultra, Lacerba, Energie Nouve, Klingen, Exlex, flamman, Der Blaue Reiter, Der Sturm, Der Dada, Ver Sacrum, Cabaret Voltaire, 391, ReD, Zenit, Ma, Contemporanul, Formisci, Zdroj, Lef, and Novy Lef.

The magazines disclose a world where the material constraints of costs, internal rivalries, and anxieties over censorship ran alongside the excitement of new work, collaboration on a new manifesto and the birth of a new movement. This collection therefore confirms the value of magazine culture to the expanding field of modernist studies, providing a rich and hitherto under-examined resource which helps bring to life the dynamics out of which the modernist avant-garde evolved.

bruno schulz 2012

Bruno Schulz: rzeczywistość przesunięta / Bruno Schulz: Shifted Reality
by Jan Gondowicz, Jerzy Jarzębski, Irena Kossowska, and Łukasz Kossowski

The Museum of Literature in Warsaw houses the largest collection of Bruno Schulz’s works worldwide. A selection of the artits’s prints and drawings has already been shown in many important centers, such as the museums of Paris, Nancy, Madrid, London, Dusseldorf, Trieste, Genoa, Istanbul, Brussels and Jerusalem. The year 2012 marked the 120th anniversary of Schulz’s birth and the 70th of his death. On this occasion the Museum of Literature organized a special exhibition meant to show for the first time the work of the great visionary in the context of Polish interwar art. The exhibition embraced over 200 paintings, prints and drawings as well as assemblages, visualizations and films by a significant body of artists.

When writing about the Polish version of surrealism – or rather about the not quite definable trend of the Polish interwar art which occupied a borderland between magical realism, grotesque and expressionism – Joanna Pollakówna called it “the painting of a shifted reality”. This strange realism was a peculiar equivalent of the Italian pittura metafisica and German Neue Sachlichkeit. It seems that only a “shifted reality” makes it possible to place Schulz in the framework of his epoch. By stepping out of the usual interpretational patterns and reaching beyond the time when he lived and worked, the book looks for antecedents and followers and immerses him in the poetics of photomontage and film.

The essays in this exhibition catalogue define the “shifted reality” created by Schulz in various ways. Jerzy Jarzębski locates it in a discontinuity, in the tension between a center and a periphery. Irena Kossowska discusses its European background, pointing out the metaphysical paintings and drawings by Giorgio de Chirico and Carlo Carrà as the missing link in the interpretational contexts of Schulz’s work. Jan Gondowicz shows how Schulz tried to tame the cosmic perspective of the predicted apocalypse by viewing it through the anachronistic raster of 19th-century engravings. Thus the reality questioned by the artist is analyzed from three different points of view.

Meanings of Abstract Art: Between Nature and Theory
edited by Paul Crowther and Isabel Wünsche

Traditional art is based on conventions of resemblance between the work and that which it is a representation “of.” Abstract art, in contrast, either adopts alternative modes of visual representation or reconfigures mimetic convention. This book explores the relation of abstract art to nature (taking nature in the broadest sense—the world of recognisable objects, creatures, organisms, processes, and states of affairs), covering three categories: classical modernism (Mondrian, Malevich, Kandinsky, Arp, early American abstraction); post-war abstraction (Pollock, Still, Newman, Smithson, Noguchi, Arte Povera, Michaux, postmodern developments); and the broader historical and philosophical scope. 


war culture contestWar Culture and the Contest of Images
by Dora Apel

Series: New Directions in International Studies

War Culture and the Contest of Images analyzes the relationships among contemporary war, documentary practices, and democratic ideals. Dora Apel examines a wide variety of images and cultural representations of war in the United States and the Middle East, including photography, performance art, video games, reenactment, and social media images. Simultaneously, she explores the merging of photojournalism and artistic practices, the effects of visual framing, and the construction of both sanctioned and counter-hegemonic narratives in a global contest of images. As a result of the global visual culture in which anyone may produce as well as consume public imagery, the wide variety of visual and documentary practices present realities that would otherwise be invisible or officially off-limits. In our digital era, the prohibition and control of images has become nearly impossible to maintain. Using carefully chosen case studies—such as Krzysztof Wodiczko’s video projections and public works in response to 9/11 and the wars in Iraq and Afghanistan, the performance works of Coco Fusco and Regina Galindo, and the practices of Israeli and Palestinian artists—Apel posits that contemporary war images serve as mediating agents in social relations and as a source of protection or refuge for those robbed of formal or state-sanctioned citizenship. While never suggesting that documentary practices are objective translations of reality, Apel shows that they are powerful polemical tools both for legitimizing war and for making its devastating effects visible. In modern warfare and in the accompanying culture of war that capitalism produces as a permanent feature of modern society, she asserts that the contest of images is as critical as the war on the ground.

 October 2012,1199.aspx


John Heartfield and the Agitated Image: Photography, Persuasion, and the Rise of Avant-Garde Photomontage
by Andrés Mario Zervigón

Working in Germany in the interwar era, John Heartfield (born Helmut Herzfeld, 1891–1968) developed an innovative method of appropriating and reusing photographs to powerful political effect. A pioneer of modern photomontage, he assembled images that transformed the meaning of the mass-media photos from which they were taken. In John Heartfield and the Agitated Image, Andrés Mario Zervigón explores this crucial period in the life and work of this brilliant, radical artist whose desire to disclose the truth obscured by the mainstream press and the propaganda of politicians made him a de facto prosecutor of Germany’s visual culture.

Zervigón charts the evolution of Heartfield’s photomontage from an act of antiwar resistance into a formalized and widely disseminated political art in the Weimar Republic, when his work appeared on everything from campaign posters to book covers. He explains how Heartfield’s engagement with montage arose from dissatisfaction with photography’s capacity to represent the modern world, and the result was likely the most important combination of avant-garde art and politics in the twentieth century. A rare look at Heartfield’s early and middle years as an artist and designer, this book provides a new understanding of photography’s role at this critical juncture in history.

November 2012

wuensche matjuschinArt & Life: Mikhail Matiushin and the Russian Avant-Garde in St. Petersburg
by Isabel Wünsche

Mikhail Matiushin (1861-1934), best known as composer of the music for the Cubo-Futurist opera Victory over the Sun (1913), was not only a successful musician but also an influential painter and theoretician. Together with Elena Guro he founded the artists’ group Union of Youth in 1910, and the couple’s house became a central meeting place of the pre-revolutionary St. Petersburg avant-garde. Matiushin developed his organic approach to art together with Nikolai Kulbin, Pavel Filonov, and Kazimir Malevich. After the 1917 October Revolution, he established the Studio of Spatial Realism at the Art Academy and organized the Department of Organic Culture at the State Institute of Artistic Culture in Leningrad. In the 1930s, he worked in the field of color theory and its practical application in art, architecture, and design. This monograph is the first comprehensive study of Matiushin’s multifaceted artistic and theoretical œuvre.





HGSCEA publications


Publications for the past five years are listed below.


Rosemarie Haag Bletter, “Mx. Gropius: Nonbinary Doings at the Bauhaus,” review of Jana Revedin’s Jeder Hier Nennt Mich Frau Bauaus: Das Leben der Ise Frank (Cologne: Dumont, 2018) in West 86th: A Journal of Decorative Arts, Design History, and Material Culture (vol. 26, no 2) Fall-Winter  2019, pp. 309-13.

Elizabeth Cronin “Modern Children by Modern Women” in The New Women Behind the Camera, ed. Andrea Nelson (Washington, D.C.: National Gallery of Art, 2020), 115-125.

Elizabeth Cronin and Jessica Keister, “Polar Expeditions: A Photographic Landscape of Sameness?” in Proximity and Distance in Northern Landscape Photography: Contemporary Criticism, Curation and Practice, eds. Darcy White and Chris Goldie (Bielefeld: Transcript, 2020), 35-55.

Juliet Koss. “Liubov Popova, Production Clothing for Actor No. 7, 1922,” in Engineer, Agitator, Constructor: The Artist Reinvented, 1918-1939, ed. Jodi Hauptman and Adrian Sudhalter. New York: Museum of Modern Art exh. cat., 2020, 64-67. 

_______.“Red Flags,” invited response to “The Future of Avant-Garde Studies: A European Round Table, 2010” (with Wolfgang Asholt, Peter Bürger, Éva Forgács, Benedikt Hjartarson and Piotr Piotrowski, moderated by Hubert van den Berg), Journal of Avant-Garde Studies 1 (inaugural issue, July 2020).

Irena Kossowska “Reframing National Identity: Official Art Exhibitions on Tour in Central and Eastern Europe” in Terms. Proceedings of the 34th World Congress of Art History (eds. Shao Dazhen, Fan Di’an, LaoZhu (Zhu Qingsheng), Comité International d’Histoire de l’Art (CIHA), Central Academy of Fine Arts, Peking University, 15-19.09.2016, Beijing: The Commercial Press, 2020).

_______.“A Quest for a ‘New Man’: Bruno Schulz and Giorgio de Chirico” in the sixth volume of the series European Avant-Garde and Modernisms Studies titled Realisms of the Avant-Garde (eds. Moritz Baßler, Benedikt Hjartarson, Ursula Frohne, David Ayers and Sacha Bru, Berlin: De Gruyter 2020; DOI:

Rose-Carol Washton Long  “Is the Blaue Reiter Relevant for the Twenty-First Centruy? A Discussion of  Anarchism, Art, and Politics.” In The Blaue Reiter. Edited by Dorothy Price. Manchester: Manchester University Press, 2020: 15-33.

Megan R. Luke, “The Factotum of Industry: Max Klinger’s Beethoven,” kritische berichte 48, no. 3 (2020): 81–94.


Kathryn Brush, “Carl Georg Heise and the USA: New Perspectives on the History of Harvard’s Germanic Museum and Lübeck’s Museum für Kunst- und Kulturgeschichte,” Marburger Jahrbuch für Kunstwissenschaft 45 (2018/19), pp. 7-60.

Jay A. Clarke, “Kollwitz, Gender, Biography, and Social Activism,” Käthe Kollwitz: Prints, Process, Politics, ed. Louis Marchesano (Getty Research Institute, 2019), 40-56.

Elizabeth Cronin, “Heimatfotografie in Tirol 1938-1945: Eine flexible Sicht der Dinge” in Zwischen Ideologie, Anpassung und Verfolgung: Kunst und Nationalsozialismus in Tirol (Innsbruck: Tiroler Landesmuseen, 2019), 252-261.

Eva Forgacs, “The International of the Square. Reception of the Russian Avant-Garde Abroad 1920s-1970s”, in Silvia Burini, ed.: Translations and Dialogues: The Reception of Russian Art Abroad, Europa Orientalis, No. 31, Salerno, 2019, pp. 207-216.

Susan Funkenstein, “Paul Klee and the New Woman Dancer: Gret Palucca, Karla Grosch, and the Gendering of Constructivism,” in Bauhaus Bodies, eds. Elizabeth Otto and Patrick Rössler. (New York: Bloomsbury Academic, 2019, 145-67)

Philip Goad, Ann Stephen, Andrew McNamara, Harriet Equist, Isabel Wünsche (ed.), BAUHAUS DIASPORA: Transforming Education through Art, Design and Architecture, Melbourne: Melbourne University Publishing; Sydney: Power Publications, 2019.

Tomasz Grusiecki, ‘Michał Boym, the Sum Xu, and the Reappearing Image’. Journal of Early Modern History 23, no. 2/3 (2019): 296–324.

Keith Holz, “Why defend Degenerate Art?” in Arte Degenerada – 80 Anos: Repercussões No Brasil. Edited by Helouise Lima Costa and Daniel Rincon Caires. Museu De Arte Contemporânea da Universidade de São Paulo, 2019, 47-65.

Rose-Carol Washton Long, “Dangerous Portraits? Lotte Jacobi’s Photos of Uzbek and Tajik Women,” Women’s Art Journal , fall/winter 2019, pp. 14-23.

Kristina Jõekalda A Socialist Realist History? Writing Art History in the Post-War Decades. Eds. Krista Kodres, Kristina Jõekalda, Michaela Marek. (Das östliche Europa. Kunst- und Kulturgeschichte 9.) Köln, Weimar, Wien: Böhlau Verlag, 2019, 280 pp

Kristina Jõekalda, “Monuments as a Responsibility: Baltic German Learned Societies and the Construction of Cultural Heritage around 1900.” Zeitschrift für Ostmitteleuropa-Forschung / Journal of East Central European Studies 2019, vol. 68, no. 2, pp. 189–222.

Sharon Jordan “He is a Bridge: The Importance of Friedrich Nietzsche for Ernst Ludwig Kirchner” essay in Jill Lloyd and Janis Staggs, editors, Ernst Ludwig Kirchner (New York: Neue Galerie and Prestel Verlag, 2019). Exhibition catalogue published in conjunction with the retrospective Ernst Ludwig Kirchner, on view at the Neue Galerie New York until mid-January 2020.

Marsha Morton, “Rudolf von Eitelberger and Leopold Carl Müller: Constructing a Genre of Viennese Orientalism” in Rudolf Eitelberger von Edelberg: Netzwerker der Kunstwelt, Eva Kernbauer, Kathrin Porkorny-Nagel,Raphael Rosenberg, Julia Rüdoger, Patrick Werkner, and Tanja Jenni, eds.., Vienna: Böhlau Verlag, 2019, pp. 291-312.

Eleanor Moseman “Navigating Partnership: German Surrealist Ellida Schargo von Alten, Richard Oelze, and Cross-Fertilization in the Visual Arts,” was published in Feminist German Studies 34 (2019): 75-100.

Dorothy Price and Camilla Smith (eds.) ‘Weimar’s Others: Art history, alterity and regionalism in inter war Germany’ Special Issue Art History 42.4 September 2019 (Wiley Blackwell)

Morgan Ridler, “Dörte Helm, Margaret Leiteritz, and Lou Scheper–Berkenkamp: Rare Women of the Bauhaus Wall-Painting Workshop,” In Bauhaus Bodies: Gender, Sexuality, and Body Culture in Modernism’s Legendary Art School, edited by Elizabeth Otto and Patrick Rössler, (Bloomsbury Academic, 2019) 195-216.

________. “Paint it Red: The Squares, Cubes and Doors of the Bauhaus” Source: Notes in the History of Art (Spring 2019).

Sherwin Simmons, “Under the Flicker of Arc Light: Color in Ernst Ludwig Kirchner’s Paintings of Berlin, 1912-14.” Essay in exhibition catalogue Ernst
Ludwig Kirchner, ed. by Jill Lloyd and Janis Staggs, Neue Galerie, New
York City, October 3, 2019 – January 13, 2020, pp. 62-84.

Isabel Wünsche, “Terra incognita? Die erste australische Bauhaus-Ausstellung 1961 in Melbourne,” in Bauhaus ausstellen, ed. Franziska Bomski, Hellmut Th. Seemann and Thorsten Valk, Göttingen: Wallensteinverlag 2019 (Jahrbuch der Klassik Stiftung Weimar), 219-238.

_____. “die abstrakten hannover – utopian designs for a new world,” in Groups, Coteries, Circles and Guilds. Modernist Aesthetics and the Utopian Lure of Community, ed. Laura Scuriatti, Frankfurt Main: Peter Lang, 2019, 225-247.

Andres Zervigon “Photography Studies and Germany” in the feature “Forum: Visual Studies—The Art Historian’s View,” The German Quarterly 92.2 (Spring 2019), 266-268

Andres Zervigon “Ontology or Metaphor?” in Photography and Ontology: Unsettling Images, eds. Donna West Brett and Natalya Lusty (London: Routledge Books, 1919), 10-23.


Eric Anderson, “Dreams in Color: Sigmund Freud’s Decorative Encounters,” in Elana Shapira, ed., Design Dialogue: Jews, Culture and Viennese Modernism(Vienna: Böhlau, 2018), 161-178.

Jenny Anger. Four Metaphors of Modernism: From Der Sturm to the Société Anonyme (University of Minnesota Press 2018)

Deborah Ascher Barnstone, Elizabeth Otto, Art and Resistance in Germany (Bloomsbury Visual Arts, 2018)

Jean Marie Carey, “The Tempest and the Savages: Franz Marc, Hugo Ball, and a Decisive Moment in Expressionist-Dada Theater with a Special Appearance by August Macke” in The Empty Mirror (February 2018).

Elizabeth Cronin, “Paris 1937: Promoting Austria Abroad” Austriaca. Cahiers universitaires d’information sur l’Autriche no. 83 (Dec 2016), 103-116. (belatedly published in 2018)

Eva Forgacs, “Vajda az Európai avantgárdban és azon kívül” (Vajda in the European avant-garde and outside it) in György Petőcz, ed.: Vajda Lajos. Exhibition in the Ferenczy Cultural Center, Szentendre, 2018. Bilingual catalog.

________.”Suprematism: a Shortcut into the Future: the Reception of Malevich by Polish and Hungarian Artists during the Inter-War Period”, in Christina Lodder, ed., Celebrating Suprematism. New Approaches to the Art of Kazimir Malevich, London: Brill, 2018.

Tom Grusiecki ‘Uprooting Origins: Polish-Lithuanian Art and the Challenge of Pluralism’. In Globalizing East European Art Histories: Past and Present, ed. Beáta Hock and Anu Allas, 25–38. New York: Routledge, 2018.

Charles Haxthausen, “Handbook,” along with translation of Carl Einstein’s prospectus for his “Handbook of Art,” in: Neolithic Chidlhood: Art in a False Present, c. 1930, ed. Anselm Franke and Tom Holert, exh. cat. Berlin: Haus der Kulturen der Welt/ Diaphanes Verlag, 2018, 22–33, 129–131.

Keith Holz, “Questions of German-Bohemian Art and New Objectivity.” Opuscula historiae atrium 67, no. 2. Masaryk University, Brno, December 2018, 16-25.

Keith Holz, “The United States tour of 20th Century (Banned) German Art / Ausstellungstournee 20th Century (Banned) German Art durch die USA.” London 1938.  Martin Faass and Lucy Wasensteiner, eds. Berlin: Villa Max Liebermann and London: Wiener Library. Zurich: Nimbus Verlag, 2018, 214-233.

Keith Holz, “Not only biographies: a brief institutional history of German and Austrian exiled artist groups,” in INSIDERS/OUTSIDERS: Refugees from Nazi Europe and their Contribution to British Culture. Edited by Monica Bohm-Duchen. London: Lund Humphries, 2018, 214-225.

Rebecca Houze, “Emilie Bach (1840-1890): Education Reformer, Critic, and Art Embroiderer in the Era of Franz Joseph I.” In Design Dialog: Der jüdische Beitrag zur Wiener Moderne/ Design Dialogue: Jews, Culture and Viennese Modernism. Edited by Elana Shapira. Vienna: Böhlau Verlag, 2018.

Kristina Jõekalda, Cherished and Perished Monuments: Some 19th-Century Cases of Renovation in the Baltic Heimat. – Stephanie Herold, Anneli Randla, Ingrid Scheurmann (Eds.). Re-Nationalisierung oder Sharing Heritage? Wo steht die Denkmalpflege im europäischen Kulturerbejahr 2018. (Veröffentlichungen des Arbeitskreises Theorie und Lehre der Denkmalpflege e.V. 28.) Holzminden: Verlag Jörg Mitzkat / Heidelberg:, 2018, pp. 32-41.

Andrew McNamara, Ann Stephen, and Isabel Wünsche, “Refugees and émigrés to Australia, 1930-1950: Three cases of light, colour and material studies in the Antipodes under the shadow of fascism and war,” in Migration Processes and Artistic Practices in Wartime, Lisbon: Artistic Studies Research Centre (CIEBA), Faculdade de Belas-Artes da Universidade de Lisboa, 2018, 271-289.

Morgan Ridler “Hinnerk Scheper and Lou Scheper-Berkenkamp’s Architecture and Color: Bauhaus Wall Painting in the Soviet Union,” Translation and Introduction, West 86th: A Journal of Decorative Arts, Design History, and Material Culture, 25 no 1 (Spring–Summer 2018)

Sherwin Simmons, “’Notched with a Pocket Knife on a Table’s Edge’: George Grosz’s Answer to War Graphics, 1914-16,” in special (Dada, War and Peace) of Dada/Surrealism, no. 22 (2018). E-Journal at the University of Iowa

_______. “The Dancer’s Revenge: Dance/Pantomime and the Emergence of Ernst Ludwig Kirchner’s Fantasy Pictures, 1912-15,” Dance Chronicle. Studies in Dance and the Related Arts, Vol. 41, no. 2, (2018), pp. 121-57.

Joyce Tsai Laszlo Moholy-NagyPainting after Photography, (University of  California Press 2018)

Isabel Wünsche, The Routledge Companion to Expressionism in a Transnational Context,  (Routledge 2018)

_____.  “The Novembergruppe Writes Absolute Film History,” in Freedom: The Art of the Novembergruppe 1918-1935, exh. cat., Berlin: Berlinische Galerie, 2018, 168-175.

_____.  “’Der Absolute Film.’ Matinee der Novembergruppe und Ludwig Hirschfeld-Macks Reflektorische Farbenspiele,” in Novembergruppe 1918: Studien zu einer interdisziplinären Kunst für die Weimarer Republik, Münster: Waxmann, 2018 (Veröffentlichungen der Kurt-Weill-Gesellschaft Dessau Bd. 10), 169-180.

_____.  “Lebendigkeit und Unsterblichkeit in der Kunst der Organischen Schule der russischen Avantgarde,” INTERJEKTE 12, 2018, 25-32.

_____. “Von der Metaphysik zur Psychophysik: Reflexionen zum Wesen des künstlerischen Schaffensprozesses in den kunsttheoretischen Schriften von Nikolaj Kulbin und Wassily Kandinsky,” in Literatur und menschliches Wissen, ed. Helena Ulbrechtova, Frank Thomas Grub, Edgar Platen, and Siegfried Ulbrecht, Berlin: Kulturverlag Kadmos, 2018, 194-215.


Megan Brandow-Faller (Ed.) Childhood by Design: Toys and the Material Culture of Childhood, 1700-Present, (Bloomsbury 2017)

Carey, Jean Marie. “Affen in Eden” in Avenue, Vol. 4 (September 2017).

_____. “To Never Know You: Archival Photographs of Franz Marc and Russi Marc in Antennae: The Journal of Nature in Visual Culture, Vol. 41 (September 2017).

_____. “Between Something and Nothing: Franz Marc’s Authorial Ether” in The Empty Mirror (July 2017).

_____. “Alfred Flechtheim: Kunsthandler der Moderne” in Journal of Visual Art Practice, Volume 17, Issue 3 (August 2017)

Tom Grusiecki ‘Foreign as Native: Baltic Amber in Florence‘. World Art 7, no. 1 (2017): 3–36.

Rebecca Houze, ” ‘A Revelation of Grace and Pride’: Cultural Memory and International Aspiration in Early Twentieth-Century Hungarian Design.” In Expanding Nationalisms At World Fairs: Identity, Diversity And Exchange, 1851-1915. Edited by David Raizman and Ethan Robey.London: Routledge, 2017.

Frauke V. Josenhans, Marijeta Bozovic, Joseph Leo Koerner, Megan R. Luke, and Suzanne Boorsch. Artists in Exile: Expressions of Loss and Hope. (New Haven: Yale University Art Gallery, 2017).

Vittorio Magnago Lampugnani and Rainer Schützeichel (Eds.) Die Stadt als Raumentwurf Theorien und Projekte im Städtebau seit dem Ende des 19. Jahrhunderts, Berlin/Munich: Deutscher Kunstverlag, 2017

Sabine T. Kriebel and Andrés Mario Zervigón. Photography and Doubt. (London: Routledge, 2017).

Marsha Morton, “Picturing the Perils of Greed: Kladderadatsch and the 1873 Financial Crash,”  Journal of Illustration, vol. 4, issue 2, Fall 2017.

Eleanor Moseman, Die Zukunft der Vergangenheit: Richard Oelze and Post-War Reflection,” appeared in the Zeitschrift für Kunstgeschichte 80 (February 2017): 126-155.

Øystein Sjastad, Christian Krohg’s Naturalism, (University of Washington Press 2017)

Andres Mario Zervigon. Photography and Germany. (London: Reaktion Books, 2017).

Isabel Wünsche, “Natural Phenomena and Universal Laws: The Organic School of the Russian Avant-garde,” in Natural-Unnatural: Organicity and the Avant-garde, ed. Paulina Kurc-Maj und Aleksandra Jach, exh. cat., Lodz: Museum Sztuki, 2017, 185-206.

_____. “Transgressing National Borders and Artistic Styles: The November Group and the International Avant-Garde in Berlin during the Interwar Period,” in Art/Histories in Transcultural Dynamics, Late 19th to Early 21st Centuries, Munich: Wilhelm Fink, 2017, 291-307.


Shulamith Behr, “Ludwig Meidner, Exile, Creativity and Holocaust Awareness”, in exh. cat. Eavesdropper on an Age – Ludwig Meidner in Exile (Horcher in die Zeit – Ludwig Meidner im Exil), English–German edition, ed. Museum Giersch der Goethe-Universität and Jüdisches Museum der Stadt Frankfurt (Munich: Hirmer, 2016), pp. 148-165.

Shulamith Behr, “Performing the wo/man: the ‘interplay’ between Marianne Werefkin and Else Lasker-Schüler”, in Marianne Werefkin and the Women Artists in her Circle, ed. Tanja Malycheva and Isabel Wünsche, (Leiden/Boston: Brill/Rodopi, 2016), pp. 92-105.

Benus, Benjamin, and Wim Jansen. “The Vienna Method in Amsterdam: Peter Alma’s Office for Pictorial Statistics.” Design Issues 32, no. 2 (2016): 19-36.

Bourneuf, Annie. Paul Klee. L’ironie à l’œuvre, ed. Angela Lampe (2016).

_____. R. H. Quaytman, Chapter 29: Haqaq (Tel Aviv: Tel Aviv Museum of Art, 2016).

Dadaglobe Reconstructed. With Contributions by Adrian Sudhalter, Michel Sanouillet, Cathérine Hug, Samantha Friedman, Lee Ann Daffner, and Karl D. Buchberg. University of Chicago Press, 2016

Carey, Jean Marie.The Indexicality of Animalisierung: Remediating Franz and Russi Marc,”  in Antennae: The Journal of Nature in Visual Culture, Volume 37. (December 2016) (forthcoming).

_____. “Eyes Be Closed: Franz Marc’s “Liegender Hund im Schnee”,” in TextPraxis: Digitales Journal für Philologie 12 (May 2016).  [ ]

Cronin, Elizabeth. “Traditional Modern becomes a Modern Tradition: Heimat Photography in Austria” in Anti:Modern; Salzburg inmitten von Europa zwischen Tradition und Erneuerung, ed. Sabine Breitwieser (Munich: Hirmer, 2016), 288-292.

Eisman, April. “From Double Burden to Double Vision: The “Doppelgaenger” in Doris Ziegler’s Paintings of Women in East Germany,” in The Doppelgaenger (German Visual Culture 3), ed. Deborah Ascher Barnstone (Oxford: Peter Lang, 2016) 45-66.

Forgacs, Eva. „On Terminology” Umeni (Prague) 2016/1.

Grusiecki, Tomasz, ‘Connoisseurship from Below: Art Collecting and Participatory Politics in Poland-Lithuania, 1587–1648‘, Journal of the History of Collections, first published online 1 July 2016, doi: 10.1093/jhc/fhw021

Haxthausen, Charles W. “Renaissance Reconsidered: Carl Einstein on De Cimabue à Tiepolo, 1935,” in: Historiographie der Moderne: Carl Einstein, Paul Klee, Robert Walser und die gegenseitige Erhellung der Künste, edited by Michael Baumgartner, Andreas Michel, and Reto Sorg, Munich: Wilhelm Fink Verlag, 2016 (September 2016).

_____. “Les genres parodiques de Klee,” in: Paul Klee: l’ironie à l’œuvre ed. Angela Lampe (catalogue of an exhibition at the Musée National d’Art Moderne, Centre Georges Pompidou, Paris, April 2016), 159-165. [ English Version: “Klee’s Parodic Genres,” in: Paul Klee: Irony at Work, Munich: Prestel Verlag, 2016 159-164.]

Huebner, Karla. “Inter-War Czech Women’s Magazines: Constructing Gender, Consumer Culture and Identity in Central Europe,” Women in Magazines: Research, Representation, Production, and Consumption, Sue Hawkins, Nicola Phillips, Rachel Ritchie, S. Jay Kleinberg, eds. Routledge, 2016, 66-80.

Malycheva, Tanja, and Isabel Wünsche. Marianne Werefkin and the Women Artists in Her Circle.Amsterdam: Brill/Rodopi, 2016.

Sawicki, Nicholas Ed. Friedrich Feigl, 1884-1965. Contributions by Rachel Dickson, Zuzana Duchková, Arno Pařík, Sarah MacDougall, and Nicholas Sawicki. Arbor Vitae and Galerie výtvarného umění v Chebu, 2016.

Versari, Maria Elena, “Introducation” to Futurist Painting Sculpture (Plastic Dynamism) by Umberto Boccioni. Translated by Richard Shane Agin and Maria Elena Versari. Getty, 2016

Wünsche, Isabel and Wiebke Gronemeyer Ed. Practices of Abstract Art: Between Anarchism and Appropriation. With contributions by Isabel Wünsche, Naomi Hume, Rose-Carol Washton Long, Viktoria Schindler, Aarnoud Rommens, Nieves Acedo del Barrio, Gordon Monro, Birgit Mersmann, Dorothea Schöne, Elena Korowin, Marilyn Martin, Wendy Kelly, Wiebke Gronemeyer, Pamela C. Scorzin. Cambridge Scholars Publishing, 2016.


Akcan, Esra. “Is a Global History of Architecture Displayable? A Historiographical Perspective on the 14th Venice Architecture Biennale and Louvre Abu Dhabi,” Art Margins 4, no.1 (January 2015): 79-101.

_____. “Open Architecture in Berlin-Kreuzberg,” ART PAPERS (January/February 2015): 34-41.

_____.  “Exit Implies Entries Lament: Open Architecture in John Hejduk’s IBA-1984/87 Immigrant Housing,” Notes on Critical Architecture: Praxis Reloaded, Gevork Hartoonian (ed.) (London: Ashgate, 2015).

_____.  “The ‘Occupy’ Turn in Global City Paradigm: The Architecture of AK Party’s Istanbul and the Gezi Movement,” Journal of Ottoman and Turkish Studies Association, vol.2, no.2 (November 2015): 359-378.

_____. “Open Architecture as Adventure Game: John Hejduk ın a Noncitizen District,” *Perspecta *48*, Yale Architectural Journal Amnesia issue (Summer 2015): 128-144.

_____. “Can the Immigrant Speak? Autonomy and Participation in IBA 1984/87,” The Death and Life of the Total Work of Art, Chris Dähne, Rixt Hoekstra, Carsten Ruhl  (eds.) 12th International Bauhaus Colloquium 2013 (Jovis, 2015).

Anderson, Stanford, Karen Grunow and Carsten Krohn. Jean Krämer Architect and the Atelier of Peter Behrens. Weimar Verlag, 2015 (forthcoming).

Barnett, Vivian. “Russian Artists in Munich and the Russian Participation in Der Blaue Reiter” in Russian Modernism: Cross-Currents of German and Russian Art, 1907-1917, exh. cat. Neue Galerie, New York, 2015.

_____. “To My Dear Friend of Many Years—Klee and Kandinsky’s Works on Paper, 1911-1937” in Klee & Kandinsky: Neighbors, Friends, Rivals, exh. cat. Zentrum Paul Klee and Lenbachhaus, Munich, 2015.

_____. Addendum: Wassily Kandinsky Catalogue Raisonné, Munich, Editions Lenbachhaus, 2015. This is the final addendum to the catalogue raisonné.

Shulamith Behr, “Exhibitions and Beyond: Ben Uri, Politics and Émigré Identities in the Critical Years 1944-49”, in exh. cat. Ben Uri. 100 Years in London. Art Identity Migration, ed. Rachel Dickson and Sarah MacDougall (London: Ben Uri, 2015), pp. 90-105, 162-4.

Carey, Jean Marie. “„Der Sturm“ und die Wilden:  Franz Marcs Entscheidungskampf mit der Theatralität,” in Expressionismus, Band 2, edited by Kristin Eichhorn, Kiel: Neofelis, 2015, 59-80.

Clarke, Jay A. “Linocuts between the Wars: The Politics of Style, Process, and Gender, 1918-39.” In Jay A. Clarke, ed. Machine Age Modernism: Prints from the Daniel Cowin Collection. New Haven: Yale University Press, 2015, pp. 39–61.

_____. “Intermediality and the Sublime”. In Jay A. Clarke, ed. Hurricane Waves: Clifford Ross. Boston: MIT Press and Mass MoCA, 2015, pp. 16–24.

_____. and Joseph Thompson eds. Seen & Imagined: The World of Clifford Ross. Boston: MIT Press and MASS MoCA, 2015.

Deshmukh, Marion & Irene Guenther, Postcards from the Trenches, Germans and Americans Visualize the Great War, Exhibition Catalog, Pepco-Edison Gallery, Washington, DC & The Printing Museum, Houston, Texas, August, 2014-February, 2015.

Deshmukh, Marion, Max Liebermann, Modern Art and Modern Germany (Farnham, Surrey, UK Ashgate, 2015).

Eisman, April. “East German Art and the Permeability of the Berlin Wall,” in German Studies Review 38, no. 2 (October 2015).

Forgacs, Eva. “The Bauhaus has No Place”,”Das Bauhaus hat keinen Ort”, in Bauhaus News, Stimmen zur Gegenwart, Spector Books, Berlin, Dessau, Weimar, Bauhaus Kooperation, 2015.

Forster-Hahn, Françoise. “Text and Display: Julius Meier-Graefe, the 1906 White Centennial in Berlin, and the Canon of Modern Art,” in Art History 38 (February 2015): 139-169.

Grusiecki, Tomasz, ‘Between Sacred and Profane: Devotional Space, the Picture Gallery, and the Ambiguous Image in Poland-Lithuania’, Zeitschrift für Ostmitteleuropa-Forschung 64, no. 4 (December 2015): 521–542.

Haxthausen, Charles W. “Framing Movement: Kirchner in Berlin,” in Mostly Modern: Essays in Honor of Joseph Masheck, edited by Aleksandr Naymark, Easthampton, MA: Hudson Hills Press, 2015, 104-117.

_____. “’Gegenklänge‘: Klee, Kandinsky und die deutsche Kunstkritik,“in: Klee & Kandinsky: Nachbarn, Freunde, Konkurrenten, ed. Michael Baumgartner, Annegret Hoberg, Christine Hopfengart, Bern: Zentrum Paul Klee/ Munich: Lenbachaus/ Munich Prestel Verlag, 2015, pp. 334-343; English version: “’Contrasting Sounds’: Klee, Kandinsky, and the German Critics,” in: Klee & Kandinsky: Neighbors, Friends, Rivals, New York: Prestel/Random House, 2015, pp. 334-343.

_____. “Thoughts on visuelle Kultur,” in James Elkins, Gustav Frank, and Sunil Manghani, eds., Farewell to Visual Studies, Stone Art Theory Institutes Series, University Park, PA: Penn State University Press, 2015, pp. 222-224.

Holz, Keith. “New Objectivity Painting Abroad and its Nationalist Baggage.” In: New Objectivity: Modern German Art in the Weimar Republic, 1919-1933. Edited by Stephanie Barron and Sabine Eckmann. Los Angeles County Museum of Art. Prestel Verlag, 2015, 90-103. Italian edition forthcoming in conjunction with Venice, Museo Correr exhibition of same (April 2015).

_____. ““not my most beautiful but my best paintings …”: Kokoschka’s list for London.” In: Echoes of Exile: Moscow Archives and the Arts in Paris, 1933-1945. Edited by Ines Rotermund-Reynard. Berlin: De Gruyter Verlag, 2015, 85-104, 177-178.

_____. “Oskar Kokoschka in Czechoslovakia: the private life of a public artist.“ In: Kunstforum Ostdeutsche Galerie Regensburg. Oskar Kokoschka and the Prague Cultural
Scene, edited by Agnes Tieze, 2015, pp. 16-25. [English, German, and Czech editions].

Loeb, Carolyn and and Andreas Luescher eds., The Design of Frontier Spaces: Control and Ambiguity, Farnham, England, and Burlington, Vermont, USA: Ashgate, 2015

Makela, Maria. “Rejuvenation and Regen(d)eration: Der Steinachfilm, Sex Glands, and Weimar-Era Visual and Literary Culture” German Studies Review 38, no. 1 (2015): 35–62.

_____. “New Women, New Men, New Objectivity,” in New Objectivity: Modern German Art in the Weimar Republic 1919–1933, eds. Stephanie Barron and Sabine Eckmann (Los Angeles: Los Angeles County Museum of Art, 2015), 50–63.

Mansbach, Steven. “Making the Past Modern: Jože Plecnik’s Central European Landscapes in Prague and Ljubljana,” in Modernism and Landscape Architecture, 1890-1940, ed. Therese O’Malley and Joachim Wolschke-Bulmahn (New Haven: Yale University Press, 2015), 95-116.

_____. “Nationality and Modernity in Early Twentieth-Century Baltic Art: in Mostly Modern: Essays in Art and Architeacture, ed. Joseph Mascheck, (Hudson Hills Press, 2015), pp. 89-103.

_____. Radical Reading / Revolutionary Seeing: An Introduction” to the Checklist of Russian, Ukrainian & Belarusian Avant-Garde & Modernist Books, Serials & Works on Paper at The New York Public Library & Columbia University Libraries (Academic Commons, 2015), pp. 1-15.

_____. “Tekstowy radykalizm Władysław Strzemińskiego [Władisław Strzemiński’s Textual Radicalism]” in Władysław Strzemiński Czytelność obrazów, ed. Paweł Polit and Jaorsław Suchan, Łódż [Poland], 2012, pp. 35-51. Republished in English in Władysław Strzemiński: Readability of Images, eds. Paweł Polit and Jarosław Suchan, (Łódż: Muzeum Sztuki, 2015), pp. 35-50.

Morton, Marsha. “From False Objectivity to New Objectivity: Klinger’s Legacy of Symbolic Realism,” in The Symbolist Roots of Modern Art, edited by Michelle Facos and Thor J. Mednick (Ashgate, 2015).

Radycki, Diane. “Body of Evidence: Modersohn-Becker’s Reclining Mother-and-Child Nude,” in Paula Modersohn-Becker, exhibition catalogue edited by Tine Colstrup, Louisiana Museum of Modern Art (forthcoming).

Sawicki, Nicholas. “Between Montparnasse and Prague: Circulating Cubism in Left Bank Paris,” in Foreign Artists and Communities in Modern Paris, 1870-1914: Strangers in Paradise, ed. Karen Carter and Susan Waller. (Farnham: Ashgate, 2015), 67-80.

_____. “Ripolin, Flags and Wood: Picasso’s Violin, Wineglass, Pipe and Anchor (1912) and Its Cubist Frame.” The Burlington Magazine no. 1342 (January 2015): 18-26.

Sherwin Simmons, “Neue Jugend: A Case Study in Berlin Dada,” chapter in David Hopkins, ed.,  Companion to Dada and Surrealism (Hoboken, NJ: Wiley-Blackwells, 2015), pp. 38-53.

________. “’A suggestiveness that can make one crazy’: Ernst Ludwig Kirchner’s Images of Marzella,” MODERNISM/modernity, Vol. 22, no. 3 (2015), pp 1-41

Stefanski, Karolina and Marie-Elise Dupuis. “Charles-Louis Wagner and Frédéric-Jules Rudolphi’s Partnership in Paris” Silver Magazine (March/April 2015): 22-31.

Versari, Maria Elena. “Avant-Garde Iconographies of Combat: from the Futurist Synthesis of War to Beat the Whites with the Red Wedge”, Annali di Italianistica, 33 (2015), pp. 187-204.

_____. “Re-casting the past: on the posthumous fortune of Futurist sculpture”,Sculpture Journal, 23 (3) (2015), pp. 349–368.

_____. “Fascist Spoils: Gifts to Mussolini” (On the discovery of Mussolini’s seized gifts collection) The Burlington
Magazine, CLVII, June 2015, pp. 407-413.

Zervigón, Andrés Mario. “Rotogravure and the Modern Aesthetics of News Reporting.” In Getting the Picture: The History and Visual Culture of the News, edited by Jason Hill and Vanessa R. Schwartz (London: Bloomsbury Academic, January 2015).


Akcan, Esra. “A Manifesto for Collecting and Translating Manifestoes,” in The Future is Not What It Used To Be/Gelecek Artik Eskisi Gibi Degil. Catalog of Istanbul Design Biennial 2014, Zoe Ryan, Meredith Carruthers, (eds.) (Istanbul: IKSV, 2014): 300-319.

_____. “Global Conflict and Global Glitter: Architecture of West Asia,” in A Critical History of Contemporary Architecture (1960-2010), Elie Haddad and David Rifkind (eds.), (London: Ashgate, 2014): 311-337.

_____. “Postcolonial Theories in Architecture,” in A Critical History of Contemporary Architecture (1960-2010) Elie Haddad and David Rifkind (eds.), (London: Ashgate 2014): 115-136.

_____. “Modern and Contemporary Architecture in North Africa and West Asia,” Encyclopedia of Aesthetics 2nd Edition (Oxford University Press, 2014).

Barnett, Vivian. Kandinsky in Murnau, 1908-1914 in Blaues Haus und Gelber Klang: Kandinsky und Jawlensky in Murnau, exh. cat. Schlossmuseum, Murnau, 2014.

Bletter, Rosemarie. “Fragments of Utopia: Paul Scheerbart and Bruno Taut,” in Glass! Love!! Perpetual Motion!!!: A Paul Scheerbart Reader. University of Chicago Press, 2014.

_____ and Joan Ockman, eds. The Modern Architecture Symposia, 1962-1966: A Critical Edition. Yale University Press, 2014.

Eisman, April. “From Economic Equality to ‘Mommy Politics’: Women Artists and the Challenges of Gender in East German Painting,” in International Journal for History, Culture and Modernity 2, no. 2 (2014), 175-203.

_____. “Heidrun Hegewald and the Cold War Politics of the Family in East German Painting,” in Bildgespenster. Künstlerische Archive aus der DDR und ihre Rolle heute, edited by Elize Bisanz and Marlene Heidel (Bielefeld, Germany: Transcript Verlag, 2014): 205-229.

Forgacs, Eva. “ARTPOOL. A Radically Open Wunderkammer of Experimental Art”, 2014.

_____. “Deconstructivist Constructivists in Hungary 1960-1990s” Centropa 14, no.3 (Sept. 2014).

_____. “How the New Left Invented East-European Art”, in Blindheit und Hellsichtigkeit. Künstlerkritik an Politik und Gesellschaft der Gegenwart, Wiener Reihe. Themen der Philosophie, vol. 16, ed. by Herta Nagl-Docekal, Cornelia Klinger, Ludwig Nagl und Alexander Somek (Berlin: Verlag Walter de Gruyter, 2014).

_____. “Malevics visszatér” (Malevich returns) Új Muvészet (January 2014).

_____. “Modernism’s Lost Future” Filosofski Vestnik (Ljubljana) 35, No. 2 (2014): 29-45.

_____. “Muvészet veszélyes csillagzat alatt” (Art under dangerous constellation),, 05.05.2014

_____. “The Past is a Work-in-Progress – also in Art History” IWM Post, No. 114 (Winter 2014/2015).

_____. “The Political Implications of the Avant-Gardes of Eastern Europe since 1945”, in Avantgarde und Modernismus. Dezentrierung, Subversion und Transformation im literarisch künstlerischen Field, ed. Wolfgang Asholt (Berlin/Boston: De Gruyter, 2014).

Forster-Hahn, Françoise. “Deutsch, modern und jüdisch: Max Liebermanns Ausstellungen in Berlin und London 1906,” in Vorträge aus dem Warburg-Haus, vol. 11 (2014).

_____. “Industrie” in Uwe Fleckner, Martin Warnke, Hendrik Ziegler (eds.), Politische Ikonographie. Ein Handbuch, Vol. II, paperback edition, (Munich: C.H. Beck, 2014), 14-19.

_____. “Das ungefragte Bild und sein fehlendes Publikum: Adolph Menzels Aufbahrung der Märzgefallenen als Verdichtung politischen Wandels,” in Uwe Fleckner (ed.), Bilder machen Geschichte. Historische Ereignisse im Gedächtnis der Kunst (De Gruyter-Akademie-Verlag, 2014), 267- 277; 499-501.

Haxthausen, Charles W. “Carl Einstein and Expressionism: The Case of Ernst Ludwig Kirchner,” in The Expressionist Turn in Art History: A Critical Anthology, ed. Kimberly Smith, London: Ashgate, 2014, 273-303.

_____. “Carl Einstein,” Encyclopedia of Aesthetics, 2nd rev and expanded edition, edited by Michael Kelly (New York: Oxford University Press, 2014).

_____. “Paul Klee, Wilhelm Hausenstein, and the “Problem of Style,” in Kritische Berichte 48, no.1 (April 2014), 47-67.

Holz, Keith. “Oskar Kokoschka in der Tschechoslovakei: Das Privatleben eines öffentlichen Künstlers.” In: Oskar Kokoschka und die Prager Kulturszene. Edited by Agnes Tieze. Artforum East-German Galerie Regensburg, 2014. English edition for Narodni Galeri, Prague, 2015, 16-25.

Huebner, Karla, “Prague Flânerie from Neruda to Nezval,” in The Flâneur Abroad: Historical and International Perspectives, Richard Wrigley, ed. Cambridge Scholars Publishing, 2014, 281-297.

Kriebel, Sabine T. Revolutionary Beauty: The Radical Photomontages of John Heartfield. Berkeley: University of California Press, 2014.

Loeb, Carolyn. “Reimagining the City: West Berlin Murals and the Right to the City,” Lisbon Street Art and Urban Creativity 2014 International Conference, eds. Pedro Soares Neves and Daniela V. de Freitas Simões, Lisbon, 2014.

Long, Rose-Carol Washton. “Lucia Moholy’s Bauhaus Photography and the Issue of the Hidden Jew,” Woman’s Art Journal, vol.35, no. 2 (Fall/Winter 2014): 37-47.

Luke, Megan. Kurt Schwitters: Space, Image, Exile. Chicago: University of Chicago Press, 2014.

Mansbach, Steven. “Capital Modernism in the the Baltic Republics: Kaunas, Tallinn, and Riga” in Races to Modernity: Metropolitan Aspirations in Eastern Europe, 1890-1940, edited by Jan C. Behrends and Martin Kohlrausch (Budapest: CEU Press, 2014), 233-266.

Matuszak, Joanna.”Performing with Objects: Andrés Galeano in conversation with Joanna Matuszak.” PAJ: A Journal of Performance and Art (108) 36, no.3 September, 2014: 102-111.

Morton, Marsha. Max Klinger and Wilhelmine Culture: On the Threshold of German Modernism. Ashgate, 2014.

Obler, Bibiana. Intimate Collaborations: Kandinsky and Münter, Arp and Taeuber. New Haven: Yale University Press, 2014.

Price, Dorothy.”Horrors, hallucinations, pity and prostheses: German Artists and the First World War’ in Carden-Coyne, Ana et al (eds.) The Sensory War Manchester: Manchester City Art Galleries (forthcoming)

Pugh, Emily. Architecture, Politics and Identity in Divided Berlin. Pittsburgh: University of Pittsburgh Press, 2014.

Radycki, Diane. “Worpswede, Idyll and After: Creativity and Partnership in the Early Twentieth Century,” in Breaking New Ground in Art History: A Festschrift in Honor of Alicia Craig Faxon, edited by Margaret Hanni (Washington, D.C.: New Academia Publishing, 2014), 137-55.

Rocco, Vanessa. “Activist Photo Spaces: ‘Situation Awareness’ and the ‘Exhibition of the Building Workers Unions (Berlin 1931),” Journal of Curatorial Studies 3: 1 (Spring 2014), 26-46.

Sawicki, Nicholas. Na ceste k modernosti: Umelecké sdružení Osma a jeho okruh v letech 1900-1910 [On a Path to Modernity: The Eight and Its Circle in the Years 1900-1910]. Trans. Pavla Machalíková, Prague: Univerzita Karlova, 2014.

Sherwin Simmons. “Hands on the Table. Ernst Ludwig Kirchner and the Expressionist Still Life,” Art History, Vol 38, no. 1 (2014), 96-125.

“Obrist/Worringer/Marc: Abstraction and Empathy on the Eve of World War
I,”  konturen, e-journal of the German Studies Program, University of
Oregon, Vol. 5 Abstraction and Materiality.

_____. “Dada and Kitsch: Cultivating the Trivial,” in Dada Virgin Microbe, edited by David Hopkins and Michael White (Evanston, IL: Northwestern University Press, 2014), pp. 227-51.

_____.“’A Byway for Sure’: Cubism’s Reception and Impact on Die Brücke 1910-14,” in Expressionism in Germany and France: From van Gogh to Kandinsky, exhibition catalogue edited by Timothy Benson, Los Angeles County Museum of Art, 2014, 262-75.

Zervigón, Andrés Mario. “The Peripatetic Viewer at Heartfield’s Film und Foto Exhibition Room.” October 150, Fall 2014.

_____. “Toward an Itinerant History of Photography: The Case of Lalla Essaydi.” In Photography, History, Difference, edited by Tanya Sheehan (Hannover, NH: University Press of New England, November 2014).

_____. “Die anderen Bildamateure. Agitprop, Werbung und Bildmontage unter der Anleitung der KPD” [“The Other Picture Amateurs: Agitprop, Advertising and Pictorial Montage under the Direction of the KPD”]. In Das Auge des Arbeiters. Arbeiterfotografie und Kunst um 1930, edited by Wolfgang Hesse (Leipzig: Spector-Verlag, 2014).

_____ and Tanya Sheehan, eds. Photography and Its Origins (London, UK: Routledge, December 2014).

_____. “César Domela-Nieuwenhuis – Hamburg. Deutschlands Tor zur Welt [Hamburg, Germany’s Gateway to the World], c. 1930.” At the website Object: Photo, edited by Mitra Abbaspour, et. al. New York: Museum of Modern Art, winter 2014.


Behr, Shulamith. Review of Netzwerke des Exils. Künstlerische Verflechtungen, Austausch und Patronage nach 1933, eds. Burcu Dogramaci and Karin Wimmer. (Gebrüder Mann Verlag, Berlin, 2011), The Burlington Magazine, no. 1326, vol. 155, September 2013, pp. 628-629.

_____. “Kandinsky and Theater: the Monumental Artwork of the Future”, in exh. cat. Vasily Kandinsky and the Total Work of Art: from Blaue Reiter to Bauhaus, ed. Jill Lloyd, Neue Galerie, New York, and Hatje Cantz, Ostfildern, 2013, pp. 64-85.

Benus, Benjamin. “Figurative constructivism and sociological graphics,” in Isotype: Design and Contexts 1925-1971, edited by Christopher Burke, Eric Kindel, and Sue Walker (Hyphen Press, 2013).

Brooker, Peter, Sascha Bru, Andrew Thacker, and Christian Weikop, eds. The Oxford Critical and Cultural History of Modernist Magazines, Volume III: Europe 1880-1940. New York: Oxford University Press, 2013.

Clarke, Jay A. “Art Equals Life: Munch and the Problem of Biography,” Munch 150 (National Museum and Munch Museum, 2013).

_____. “Cornelia Paczka-Wagner: Representing the Symbolic Self,” Cantor Art Center Journal (Spring 2013).

_____. “1927: Munch’s Changing Role in Germany,” Kunst og Kultur, xcvi, 2013, pp. 170–81.

Cronin, Elizabeth. “Rudolf Koppitz und die österreichische Heimat” in Rudolf Koppitz: Photogenie, ed. Monika Faber and trans. Wolfgang Astelbauer. Vienna: Brandstätter, 2013, 44-53.

_____. “The Problem of German Identity in 1930s Austria and the Influence of Austrian Heimat Photography” in Representations of German Identity, eds. Deborah Ascher Barnstone and Thomas Haakenson. New York: Peter Lang, 2013, 153-175.

Forgacs, Eva. In Back Light. Fehér László. Budapest: Pauker Collections, 2013.

_____. “Modernist Magazines, Hungary”, with Tyrus Miller, in Peter Brooker, Andrew Thacker, Sacha Bru, Christian Weikop, eds., The [Oxford] Critical and Cultural History of Modernist Magazines, Vol. 3: Europe 1880-1940, Part Two, 2013.

_____. “Internationalists Spread Thin. The Hungarian Aspect 1920-1922” Hubert van den Berg, Lydia Gluchowska eds., Internationality and Internationalism in the European Avant-Garde in the First Half of the Twentieth Century. Leeuven: Peeters, 2013.

Gasparavicius, Gediminas. “How the East Saw the East in 1992: NSK Embassy Moscow and Relationality in Eastern Europe,” Public Art Dialogue, Fall 2013, Vol. 3, Issue 2, 220-241.

Grusiecki, Tomasz. “From the Site of Presence to the Medium of Representation, and beyond: The Fluid Epistemology of Imagery in Post-Reformation Poland-Lithuania” in Mediating Religious Cultures in Early Modern Europe, ed. Torrance Kirby and Matthew Milner. Cambridge Scholars Publishing, 2013, 85-118.

Huebner, Karla. “Otherness in First Republic Czechoslovak Representations of Women,” in Dagnoslaw Demski, Ildikó Sz. Kristóf, and Kamila Baraniecka-Olszewska, eds., Competing Eyes: Visual Encounters with Alterity in Central and Eastern Europe, Budapest, 2013, 438-460.

_____. “In Pursuit of Toyen: Feminist Biography in an Art-Historical Context,” Journal of Women’s History 25, no. 1 (Spring 2013), 14-36.

Loeb, Carolyn. “The Politics of Public and Private Space: Housing and Urbanism in Divided Berlin,” in Edward Murphy, ed. Infrastructures of Home and City: The Problem of Housing in Modern Urban Society, London and Burlington, VT: Ashgate Publishing, 2013.

_____ and Andreas Luescher, “Cultural Memory After the Fall of the Wall: The Case of Checkpoint Charlie,” in Max Stephenson and Laura Zanotti, eds. Building Walls, Securitizing Space, and the Making of Identity, London and Burlinton, VT: Ashgate Publishing, 2013.

Long, Rose-Carol Washton. “Constructing the Total Work of Art: Painting and the Public,” in Vasily Kandinsky: from Blaue Reiter to the Bauhaus, 1910-1925. Exhibition catalogue. New York: Neue Galerie New York, 2013: 32-47.

_____. “August Sander’s Portraits of Persecuted Jew,” Tate Papers 19 (April 2013) an e-journal: 1-14.

Mansbach, Steven. Riga’s Capital Modernism. Leipzig: Leipziger Universitätsverlag, 2013.

Matuszak, Joanna. “Ice as Element: German Vinogradov’s performance Songs of the Glacial Toad.” Performance Research 18, no.6 (On Ice) 2013: 85-96.

Morton, Marsha. “Cultural History,” in The Routledge Companion to Music and Visual Culture, edited by Tim Shephard and Anne Leonard, London: Routledge, 2013.

Nisbet, Peter. Review of Objects as History in Twentieth-Century German Art: Beckmann to Beuys by Peter Chametzky. (June 26, 2013)

Noy, Irene. “Art That Does Not Make Noise? Mary Bauermeister’s Early Work and Exhibition with Karlheinz Stockhausen,” Immediations 3, no.2 (2013), 25-31.

Radycki, Diane. Paula Modersohn-Becker: The First Modern Woman Artist. New Haven: Yale University Press, 2013.

_____. “Töchter of Feminism: Germany and the Modern Woman Artist,” Historically Speaking: The Bulletin of the Historical Society 14, no. 5 (2013), 43-45.

Rocco, Vanessa. “Building Workers Unions Exhibition, Berlin, 1931,” Aperture (Winter 2013), 54-55.

_____. “Designing and Displaying Fascism,” in Made in Italy: Rethinking A Century of Italian Design (London: Bloomsbury, 2013), 179-192.

Rowe, Dorothy. After Dada: Marta Hegemann and the Cologne Avant-Garde. Manchester University Press, 2013.

_____. ‘August Sander and the Artists: Locating the Subjects of New Objectivity’ Tate Papers 19, April 2013.

van Dyke, James A. “”Erasure and Jewishness in Otto Dix’s Portrait of the Lawyer Hugo Simons,” in Renew Marxist Art History, eds. Warren Carter, Barnaby Haran, and Frederic J. Schwartz (London: Art/Books, 2013), 362-81.

_____. “Torture and Masculinity in George Grosz’s Interregnum,” New German Critique 40, no. 2 119 (Summer 2013): 137-65.

_____. “Ernst Barlach and the Conservative Revolution,” German Studies Review, 36 no. 2 (May 2013): 281-305.

_____. “Otto Dix’ Volkstümlichkeit,” in Das Auge der Welt: Otto Dix und die Neue Sachlichkeit 1920-1945, ed. Nils Büttner and Daniel Spanke, exh. cat. Kunstmuseum Stuttgart (Ostfildern-Ruit: Hatje-Cantz, 2012), 84-97; in English translation as “Otto Dix’s Folk Culture,” in Otto Dix and New Objectivity, ed. Nils Büttner and Daniel Spanke, exh. cat. Kunstmuseum Stuttgart (Ostfildern-Ruit: Hatje-Cantz/New York: D.A.P., 2013), 84-97.


Behr, Shulamith. “Académie Matisse and its relevance in the life and work of Sigrid Hjertén”, in A Cultural History of the Avant-Garde in the Nordic Countries 1900-1925, eds. Hubert van den Berg, et al, Rodopi, Amsterdam & New York, 2012, pp. 149-164.

Brisman, Shira. “Sternkraut: The Word that Unlocks Dürer’s Self Portrait of 1493,” in the exhibition catalog Der frühe Dürer (Nürnberg: Germanisches Nationalmuseum, 2012).

Clarke, Jay A. “Puberty as Metabolic Moment,” in Puberty (Munch Museum, 2012).

Crowther, Paul and Isabel Wünsche, eds. Meanings of Abstract Art: Between Nature and Theory. Routledge Advances in Art and Visual Studies. London: Routledge, 2012.

Eisman, April. “Painting the East German Experience: Neo Rauch in the Late 1990s,” in Oxford Art Journal, Vol. 35, Issue 2, 2012, 233-250.

_____. “Denying Difference in the Post-Socialist Other: Bernhard Heisig and the Changing Reception of an East German Artist,” in Contemporaneity: Historical Presence in Visual Culture, Vol. 2, 2012, 45-73.

Forgacs, Eva. “The Bauhaus and Hungary’s Émigré Artists’ Last Illusions of Modernity”, in Lilly Dubowitz, In Search of a Forgotten Architect: Stefan Sebok 1901-1941, London: Architectural Association, 2012.

_____. “Reinventing the Bauhaus. The 1923 Bauhaus Exhibition as a Turning Point in the Direction of the School” in Bauhaus: Art as Life, exh. cat., London: Barbican Art Gallery, Koenig Books, 2012.

_____. “Muhelyek és titkok. Nádas Péter a Kunsthaus Zug-ban” [Studios and secrets. Peter Nadas in Kunsthaus Zug], Élet és irodalom, (Budapest) Nov. 23, 2012.

_____. “Fényben , térben idoben. Nádas Péter szöveg-képei” [In light, space, and time. Peter Nadas’s text images], Enigma, (Budapest) No. 70, Nov. 2012.

_____.”Nyolcak. Terminológia, történelem, kulturális transzfer”[The Eight. Terminology, history, cultural transfer] Enigma, (Budapest) Vol. XVIII, No. 69, Spring 2012.

_____. “‘Today is a Beautiful Day’ The ‘New Sensibility” or ‘New Subjectivism’ in the Hungarian Post-Avant-Garde of the1980s” Umeni/Art (Prague), Vol. LIX, no. 3-4/2011 (published in 2012).

Forster-Hahn, Françoise. “Die weisse Jahrhundertausstellung 1906 in Berlin: Ausstellungsinszenierung und Meier-Graefe’s Entwicklungsgeschichte der modernen Kunst (1904),” in: Jahrbuch der Berliner Museen, vol. 54 (2012).

Funkenstein, Susan. “Picturing Palucca at the Bauhaus.” In New German Dance Studies, eds. Susan Manning and Lucia Ruprecht. Urbana, Chicago, and Springfield: University of Illinois Press, 2012, 45-62.

Grusiecki, Tomasz. “Going Global? An Attempt to Challenge the Peripheral Position of Early Modern Polish-Lithuanian Painting in the Historiography of Art” in The Polish Review 57, no. 4 (December 2012): 3-26.

Gurshtein, Ksenya, “OHO: An Experimental Microcosm on the Edge of East and West” in Christian Höller, ed. L’Internationale – Post-war Avant-gardes between 1956 and 1986, Zurich: JRP Ringier, 2012, pp. 208-215.

Hamlin, Amy. “The Conditions of Interpretation: A Reception History of the Synagogue by Max Beckmann.” 7 (October 2012) []

Heller, Reinhold. “Making a Picture Scream.” In Edvard Munch: The Scream, 27-50. New York: Sotheby’s, 2012.

Holz, Keith. “‘Brushwork thick and easy’ or a ‘beauty-parlor mask for murder’? Reckoning with the Great German Art Exhibitions in the Western democracies.” RIHA Journal 0055 (28 September 2012),

Koss, Juliet. “Bauhausfolket [Bauhaus People],” trans. Nina Poulsen, in Kulturo: Tidsskrift for Kunst, Litteratur og Politik (Kulturo: Journal for Art, Literature, and Politics) No. 34 (special issue on Folkelighed), Copenhagen, Denmark, Fall 2012: 78-88.

_____. “Scalebound Bauhaus,” in The Islands of Benoit Mandelbrot: Fractals, Chaos, and the Materiality of Thinking, ed. Nina Samuel. New Haven: Yale University Press, 2012, 152-57.

Mansbach, Steven, ed. “New Histories and New Methods in Engaging the Eastern European Avant-Gardes.” Special issue of ARS: Casopis Ústavu dejín umenia Slovenskej akadémie vied / Journal of the Institute of Art History of the Slovak Academy of Sciences 45, no. 1 (December 2012).

_____. “Delayed Discovery or Willful Forgetting? The Reception of Polish Classical Modernism in Americaini” Slavic Review 71, no.3 (Fall 2012): 489-514.

_____. “Tekstowy radykalizm Wladyslaw Strzeminskiego [Wladislaw Strzeminski’s Textual Radicalism]” in Wladyslaw Strzeminski Czytelnosc obrazów, ed. Pawel Polit and Jaorslaw Suchan (Lódz [Poland], 2012), 35-51.

Morton, Marsha. “Un Art à La Marge: Klinger Au Seuil Du Modernisme.” In Max Klinger Le Théâtre De L’étrange : Les Suites Gravées 1879-1915. Exposition Présentée Au Musée d’Art Moderne Et Contemporain De La Ville De Strasbourg Du 12 Mai Au 19 Août 2012, edited by Marie-Jeanne Geyer, 21–36. Strasborg, France: Editions des Musées de Strasbourg, 2012.

Timpano, Nathan J. “Nazi vs Niebelung: Satirising National Socialism at Harvard’s Germanic Museum,” in Oxford Art Journal 35, no. 3 (December 2012): 389-411.

van Dyke, James A. “Felixmüller’s Failure: Painting and Poverty,” in Beyond Glitter and Doom: New Perspectives of the Weimar Republic, ed. Godela Weiss-Sussex and Jochen Hung (Munich: Iudicium, 2012), 176-191.

_____. “Something New on Nolde, National Socialism, and the SS,” Kunstchronik (Munich) 65 (2012): 265-270.