Anselm Kiefer's empathic approach to Germany's past, particularly its period of National Socialism, has provoked heated controversy among art critics and historians. The first section of this paper examines and critiques a sample of the discourse on the subject, drawing the primary conclusion that postwar Germany's peculiar cultural and political context, which has been neglected, is of fundamental importance to understanding Kiefer's mediations. The second section juxtaposes a sample of Kiefer's work against this context, drawing attention to the psychological resonances of National Socialism which continue to haunt Germany and which find their way into the artist's work
Germany was, after 1945, a defeated, blitzed country occupied by four world powers. Fifty years late...
Around 1933, many artists, critics and academics thought that the Expressionists and the artists wit...
In the debate over transitional justice and human right issues, Germany‘s "Vergangenheitsbewält...
My dissertation--Art after Auschwitz: Anselm Kiefer and the Possibilities of Representation--situate...
Anselm Kiefer and Art after Auschwitz examines the legacy of German-Jewish culture in the aftermath ...
Eine der wichtigsten Aufgaben der Kunst ist es, unser kulturelles Gedächtnis zu aktivieren, zu errin...
"For Kiefer, who entered the arena of art at the end of the Sixties, a decade characterized and domi...
This dissertation focuses on the (East) German artist Bernhard Heisig (b. 1925), one of the most imp...
Few issues have possessed the centrality or sparked as much controversy in the postwar history of th...
UIDB/04666/2020 UIDP/04666/2020Anselm Kiefer was born in 1945, in Germany, and his father was an off...
Working in a period when the western modernist focus on the originality of the artist, painterly for...
Detailing Kiefer's artists' books spanning two decades, this publication includes essays by four aut...
During the past decade one of the bestsellers in the American art market was a group of figurative...
This article traces the reception of East German artist Bernhard Heisig’s life and art—first in East...
Rudy Koshar constructs a powerful framework in which to examine the subject of German collective mem...
Germany was, after 1945, a defeated, blitzed country occupied by four world powers. Fifty years late...
Around 1933, many artists, critics and academics thought that the Expressionists and the artists wit...
In the debate over transitional justice and human right issues, Germany‘s "Vergangenheitsbewält...
My dissertation--Art after Auschwitz: Anselm Kiefer and the Possibilities of Representation--situate...
Anselm Kiefer and Art after Auschwitz examines the legacy of German-Jewish culture in the aftermath ...
Eine der wichtigsten Aufgaben der Kunst ist es, unser kulturelles Gedächtnis zu aktivieren, zu errin...
"For Kiefer, who entered the arena of art at the end of the Sixties, a decade characterized and domi...
This dissertation focuses on the (East) German artist Bernhard Heisig (b. 1925), one of the most imp...
Few issues have possessed the centrality or sparked as much controversy in the postwar history of th...
UIDB/04666/2020 UIDP/04666/2020Anselm Kiefer was born in 1945, in Germany, and his father was an off...
Working in a period when the western modernist focus on the originality of the artist, painterly for...
Detailing Kiefer's artists' books spanning two decades, this publication includes essays by four aut...
During the past decade one of the bestsellers in the American art market was a group of figurative...
This article traces the reception of East German artist Bernhard Heisig’s life and art—first in East...
Rudy Koshar constructs a powerful framework in which to examine the subject of German collective mem...
Germany was, after 1945, a defeated, blitzed country occupied by four world powers. Fifty years late...
Around 1933, many artists, critics and academics thought that the Expressionists and the artists wit...
In the debate over transitional justice and human right issues, Germany‘s "Vergangenheitsbewält...