HGSCEA publications

 

HGSCEA MEMBER PUBLICATIONS

Publications for the past five years are listed below.

2016

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 http://press.uchicago.edu/ucp/books/book/distributed/D/bo23398461.html

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).  [ http://www.uni-muenster.de/Textpraxis/sites/default/files/beitraege/jean-marie-carey-eyes-be-closed.pdf ]

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. http://booksandjournals.brillonline.com/content/books/9789004333147.

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.http://cupress.cuni.cz/ink2_ext/index.jsp?include=podrobnosti&id=312253

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. http://www.cambridgescholars.com/practices-of-abstract-art

 

 

2015

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.

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).

2014

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” www.artmargins.com, 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), www.tranzitblog.hu, 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.

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

_____. “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.

2013

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. caa.reviews (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.

2012

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.” nonsite.org 7 (October 2012) [http://nonsite.org/article/the-conditions-of-interpretation-a-reception-history-of-the-synagogue-by-max-beckmann]

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), www.riha-journal.org/articles/2012/2012-jul-sep/holz-reckoning

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.