HGSCEA MEMBER PUBLICATIONS
Publications for the past five years are listed below.
2024
2023
Eva Forgacs “Towards a European Integration of the Arts and the Art Discourse”, in Antje Kempe, Beáta Hock and Marina Dmitrieva, eds., Universal – International – Global. Art Historiographies of Socialist Eastern Europe, Wien, Köln, Böhlau Verlag, 2023.
Tomasz Grusiecki, “Locating the Material: Prussian Carved Ambers, Place Ambiguity, and a New Geography of Central European Art.” German History 41, no. 3 (2023): 444–471.
Mark Haxthausen,“Fatal Attraction: Carl Einstein’s ‘Ethnological’ Turn,” in: Art and Anthropology” Modern Encounters, 1870– 1980, ed. Joseph Imorde and Peter Probst, Los Angeles: Getty Publications, 2023, pp. 123–45.
____.“Kairouan, or a Tale of the Critic Hausenstein and the Painter Klee,” Zwitscher-Maschine 14 (Autumn 2023), pp. 16–70. https://www.zwitscher-
Andrés Zervigón “Visible Yet Transparent: The Lens in Nineteen-Century Photographic Cultures,” Critical Inquiry Vol. 49, Issue 4 (Summer 2023): 626-662.
____. Review of Juliet Hacking and Joanne Lukitch, eds., Photography and the Arts: Essays on Nineteenth-Century Practices and Debates, London, Bloomsbury, 2020. In 19th-Century Art Worldwide, Vol. 22, No. 1 (Spring 2023). Available at this link.
2022
Eva Forgacs, “Responses to the First Russian Art Exhibition”, in Isabel Wünsche, Miriam Leimer, eds., 100 Years On. Revisiting the First Russian Art Exhibition, Wien, Köln, Böhlau Verlag, 2022.
_____,”History Too Fast”, in Agnieszka Chmielewska, Irena Kossowska, Marcin Lachowski, eds.,State Construction and Art in East Central Europe 1918-2018, New York, London, Routledge, 2022.
_____, “War as a Psychological,Social and Intellectual Experience”, in Lidia Gluchowska, Vojtech Lahoda, eds., Nationalism and Cosmopolitanism in the Avant-Garde and Modernism, Prague, Institue of Art History, Czech Academy of Sciences, 2022.
_____,”Alfred Kemeny and the Hungarian Political Left in Berlin Art during the Early 1920s”, in Ralf Burmeister, Thomas Köhler, László Baán, András Zwickl, eds., Magyar Modern. Hungarian Art in Berlin 1910-1933, Berlin, Hirmer Verlag,Budapest, Museum of Fine Arts, 2022.
Françoise Forster-Hahn, “Käthe Kollwitz in Los Angeles 1937: Eine neue Lesart im Kreis der Hollywood-Anti-Nazi League,” in: Seismographen und Orientierungsspiegel. Bilder der Welt in kurzen Kunstgeschichten, ed. by Lena Crasemann, Benjamin Fellmann und Yannis Hadjinicolaou, Berlin, De Gruyter, 2022, pp. 148-153
_____, “Unterwegs-Sein zwischen Zeiten und Orten: Max Beckmanns ‘Heimatgefühl im Kosmos’ und die Dialektik des Exils,” in:
Max Beckmann Departure, ed. by Oliver Kase, Christiane Zeiller, Cornelia Zetzsche, Munich, Pinakothek der Moderne, pp. 89-91.
Juliet Koss, “During the Bauhaus,” in After the Bauhaus, Before the Internet: A History of Graphic Design Pedagogy, ed. Geoff Kaplan. Cambridge Mass.: no place/MIT Press, 2022, 74–85
_____., review of Anna Bokov, Avant-Garde as Method: Vkhutemas and the Pedagogy of Space, 1920-1930 (Zurich: Park Books, 2020), Slavic Review 81, no. 3 (Fall 2022): 841-43
Marsha Morton, “Max Klinger’s Brahmsphantasie: The Physiological Sublime, Embodiment, and Male Identity,” in Nineteenth-Century Art Worldwide, Vol. 21, Issue 1, Spring 2022.
Morgan Ridler, “Color and Architecture: Walter Gropius and Bauhaus Wall Painting Workshop in Collaboration, 1922-1926,” Architectural Histories, 10 no. 1 (2022): 1-27.
Isabel Rousset, ‘The Kleinhaus and the politics of localism in German architecture and planning, c. 1910’, Urban Planning 7:1 (2022), 254–66
James A. van Dyke, “Modernism and the State: German Art Academies in Crisis during the Weimar Republic,” Kunstchronik (Munich) 75, no. 5 (May 2022): 218-26.
Andres Zervigon, “Visual Explosion in the Weimar Era’s Print Media.” In Material Modernity: Innovations in Art, Design and Architecture in the Weimar Republic, edited by Deborah Ascher Barnstone and Maria Makela, 115-139. London: Bloomsbury, 2022.
2021
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.
Keith Holz,“Witness to Global Realignments and Human Suffering: Oskar Kokoschka in Post-War London.” In: Sites of Interchange: Modernism, Politics, and Culture in Britain and Germany, 1919-1951.” Edited by Lucy Wasensteiner. Series: German Visual Culture, Vol. 8. Series editor: Christian Weikop. New York and Frankfurt: Peter Lang Publishing, 2021, 283-302.
____.“Oskar Kokoschkas Amerika Kampagne,” & “Oskar Kokoschka’s American Campaign.” In: Oskar Kokoschka: New Perspectives. Edited by Régine Bonnefoit and Bernadette Reinhold. Berlin: deGruyter Verlag, 2021, 168-186, 187-203. (print & e-book editions)
____.“Handicrafts under duress: interwar representations in word and image of German Bohemian glass workers.” In: Modern Realist Approaches across the Czechoslovak Scene, 1918-1945. Ivo Haban & Anna Habanová, eds., Stephan von Pohl, translator. Liberec: Regional Art Gallery & Liberec: National Heritage Institute, English edition, 2021, 130-147.
Juliet Koss, review of Katherine Zubovich, Moscow Monumental: Soviet Skyscrapers and Urban Life in Moscow’s Capital (Princeton: Princeton University Press, 2021), Slavonic and East European Review vol. 99, no. 4 (October 2021): 784–86
Barbara McCloskey, “White Supremacy and the Art of Anti-Fascism in the United States and Germany between the World Wars, Kunst und Politik (vol. 23, 2021): 101-109.
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.
Isabel Rousset, ‘Those Who Live in Glass Houses Shouldn’t Throw Stones’ in Activism at Home: Architects Dwelling between Politics, Aesthetics and Resistance, eds. Janina Gosseye and Isabelle Doucet (Berlin: Jovis, 2021), pp. 27–37
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.
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.
2020
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 .
Isabel Rousset, ‘The Worker’s House’, Architectural Theory Review 24:1 (2020), 46–68
James A. van Dyke, “German Art and War in the Year 1932,” Oxford German Studies, 49, no. 4 (December 2020): 336-62. Special issue: Aftermath – German Culture in the Wake of World War I, edited by Catherine Smale and Tara Talwar Windsor.
____. “On Masculinity and Male Sexuality in Ernst Ludwig Kirchner’s Soldiers’ Bath,” Art History 43, no. 5 (November 2020): 892-926.
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.
2019
“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.
Charlotte Healy, “Knotted, Woven, Unraveling: Textile as Structure in the Work of Paul Klee,” in Textile Moderne / Textile Modernism, ed. Burcu Dogramaci (Cologne: Böhlau, 2019), 119–30.
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.
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.
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.
James A. van Dyke, “Style,” Kunst und Politik. Jahrbuch der Guernica-Gesellschaft (special issue: “Keywords for Marxist Art History Today,” ed. Andrew Hemingway and Larne Abse Gogarty) 21 (2019): 149-56.
____. “On the Possibility of Resistance in Two Silverpoints by Otto Dix,” in: Art and Resistance in Germany, ed. Elizabeth Otto and Deborah Ascher Barnstone (New York: Bloomsbury Visual Arts, 2019), 151-72.
____. “Dix und die Illustrierte Moderne,” in: Egger-Lienz und Otto Dix: Bilderwelten zwischen den Kriegen, ed. Helena Pereña and Astrid Flögel, exh. cat. Tiroler Landesmuseen, Innsbrück and Zeppelin Museum, Friedrichshafen (Munich: Hirmer, 2019). 137-49.
Isabel Wünsche, “Terra incognita? Die erste australische Bauhaus-
_____. “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
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.
2018
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.
Barbara McCloskey, “Teach Your Children Well: Hermynia Zur Mühlen, George Grosz, and the Art of Radical Pedagogy in Germany between the World Wars,” 77-95. In Deborah Ascher Barnstone and Elizabeth Otto, eds., Art and Resistance in Germany (London: Bloomsbury, 2018).
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)
Isabel Rousset, ‘Satirical Representations of the Bauhaus Architect in Simplicissimus Magazine’ in Fashioning Professionals: Identity and Representation at Work in the Creative Industries, eds. Leah Armstrong and Felice McDowell (London: Bloomsbury, 2018), pp. 103–20
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
https://urldefense.proofpoint.
_______. “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.
http://www.zfl-berlin.org/
_____. “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.
2017
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)
James A. van Dyke, “Paul Mathias Paduas Leda mit dem Schwan, zeitgeschichtlich betrachtet,” in: vermacht. verfallen. verdrängt. Kunst und Nationalsozialismus, ed. Christian Fuhrmeister, Monika Hauser-Mair, Felix Steffan, exh. cat. Städtische Galerie Rosenheim (Petersberg: Michael Imhof Verlag, 2017), 55-64.
____. “Dix Petrified,” in: Art and War (German Visual Culture series), ed. Deborah Ascher Barnstone and Barbara McCloskey (Oxford: Peter Lang, 2017), 103-27.
____. “On the Challenge of Nazi Art,” German Quarterly 90, no. 3 (2017): 366-8.
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.
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.
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/
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
James A. van Dyke, “Otto Dix’s Triptych The War,” Kunst und Politik. Jahrbuch der Guernica-Gesellschaft (special issue: “Hauptwerke politischer Kunst im 20. Jahrhundert/Icons of 20th-Century Political Art,” ed. Andrew Hemingway and Norbert Schneider), 18 (2016): 25-35.
____. “Franz Seraph von Lenbach, Portrait of Prince Otto von Bismarck (1884-90),” in: Spotlights: Collected by the Mildred Lane Kemper Art Museum, ed. Sabine Eckmann (St. Louis: Mildred Lane Kemper Art Museum; distributed by the University of Chicago Press, 2016), 91-94.
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