HGSCEA publications


Publications for the past five years are listed below.


Jenny Anger “Sonja Sekula and ‘Art of the Mentally Ill.’” American Art 35, no. 1 (2021): 94-113.

____.“Midcentury Multiplicity.” In A Future We Begin to Feel: Women Artists 1921-1971, edited by Emma Wippermann, 20-25. New York: Rosenberg and Co., 2021.

____.“Henryk Berlewi, Mechano-Facture, 1924.” In Engineer, Agitator, Constructor: The Artist Reinvented, 1918-1939: The Merrill C. Berman Collection, edited by Jodi Hauptman and Adrian Sudhalter, 146-51. New York: Museum of Modern Art, 2020.

Eva Forgacs “Cezanne and the Bauhaus”, in Judit Gesko, ed., Cezanne to Malevich. Arcadia to Abstraction, Museum of Fine Art, Budapest, 2021.

Elizabeth Otto “Leni Riefenstahl’s Nazi Neoclassicism: Olympia.” A Modernist Cinema: Film Art from 1914 to 1941. Ed. Scott W. Klein and Michael Valdez Moses. Oxford: Oxford University Press, 2021, 259–78.

____.“Sofie Korner: Die Pionieren” and “Lotte Rothschild: Ein Leben auf der Suche nach der Zukunft,” Vergessene Bauhaus-Frauen: Lebensschicksale in den 1930er und 1940er Jahren, ed. Anke Blümm and Patrick Rössler. Weimar: Klassik Stiftung Weimar & Universität Erfurt, 2021, 30–33, 70–75.

Sherwin Simmons ““Malerische Dichtungen”: Two Landscape Paintings of 1916 by Ernst Ludwig Kirchner”Zeitschrift für Kunstgeschichte, vol. 84, no. 3, 2021, pp. 379-407. https://doi.org/10.1515/ZKG-2021-3004

Andres Zervigon “The Timeless Imprint of Erna Lendvai-Dircksen’s Face of the German Race.” In Photography in the Third Reich: Art, Physiognomy and Propaganda, edited by Christopher Webster. Cambridge (UK): Open Book Publishers, January 2021.


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. [expanded version of essay published in A Book for Mary, 2020].

____. “Strangers in a Strange Land: Bruno Taut and Charlotte Perriand as Design Consultants in Japan,” Book for Mary: Sixty on Seven [ Festschrift for Mary McLeod],  Irena Lehkozivova and Joan Ockman, eds. (Brno, Czech.: Quatro Print, 2020) 68-80.

____.”Strangers in a Strange Land: Bruno Taut and Charlotte Perriand as Design Consultants in Japan,” West 86th:A Journal of Decorative Arts, Design History, and Material Culture (27:2) Fall-Winter 2020 [published in 2021].

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.

Eva Forgacs “The New Aesthetic of the Late Nineteen Twenties. Reconsidering the Periodization of the Interwar Avant-Gardes,” Acta Historiae Artium, Vol. LXI, Budapest, Akadémiai Kiadó, 2020.

_____.”The Inconceivable Reality. Amateur Photography and Professional Painting”, Moritz Baßler, Ursula Frohne, David Ayers, Sascha Bru and Benedikt Hjartarson eds., Realisms of the Avant-Garde,Berlin, Boston, DeGruyter, 2020.

_____.“The Bauhaus Paradox. Creativity, freedom, and the lasting legacy of the Bauhaus in Hungary”, in Dora Hegyi, Zsuzsa Laszlo, eds.: Creativity Exercises: Emancipatory Pedagogies in Art and Beyond, Berlin: Sternberg Press, 2020.

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: https://doi.org/10.1515/9783110637533)

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.

Elizabeth Otto “ringl + pit and the Queer Art of Failure,” October 173 (Sept. 2020): 37–64. https://bit.ly/3m5sKq8 .

Andres Zervigon  “Photography, Truth, and the Radicalized Public Sphere in Weimar Germany.” In Photography and Its Publics, edited by Melissa Miles and Edward Welch. London: Bloomsbury, January 2020.

____.  “Is Photomontage Over?” Special issue of History of Photography coedited with Sabine Kriebel (University College Cork, Ireland). Zervigón’s article “The Photomontage Activity of Postmodernism” is published along with the coauthored introduction. January 2020.

____. “L’image prolétarienne entre agitation politique et sobriété réaliste. L’Arbeiter Illustrierte Zeitung et le mouvement photographique ouvrier allemand,” in special issue devoted to worker photography, Transbordeur Nr. 4 (2020): 38-49.

____. “Fünf Finger hat die Hand.” Essay on the John Heartfield poster of the same name for catalog accompanying the exhibition “Engineer, Agitator, Constructor – The Merrill C. Berman Collection at MoMA,” Museum of Modern Art, Spring 2020.

____. “Produktive Beziehungen. John Heartfield und Willi Münzenberg.”Essay for the catalog accompanying the exhibition Fotografie plus Dynamit. Zeitschnitt, curated & edited by Angela Lammert, Akademie der Künste, Berlin, March 2020, 38-45.


“Talking About the Bauhaus: Rosemarie Haag Bletter, Barry Bergdoll, and Mary McLeod,” Architectural Record, June 2019.

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: arthistoricum.net, 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 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


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” 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.

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. https://urldefense.proofpoint.com/v2/url?u=http-3A__journals.oregondigital.org_konturen_article_view_3246_3200&d=DwIDaQ&c=HUrdOLg_tCr0UMeDjWLBOM9lLDRpsndbROGxEKQRFzk&r=Kd6o8WhIWsa08o8FIIG1LL36mij24K_EIEGOJzu-VLk&m=ceA3ZO2btWH9cKrNKeOQZo-NtHHBaqCRDg5IGmwqg0I&s=zWD6LmtgQd0WJsK-iNqNZcveW-9NyP5VEVAYbrzgYNY&e=

_____. “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. 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.


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

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