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Nazi Exhibition Design and Modernism
A new and challenging perspective on Nazi exhibition design In one of the most comprehensive analyses ever written on the subject, Michael Tymkiw reassesses the relationship between Nazi exhibition design and modernism. While National Socialist exhibitions are widely understood as platforms for attacking modern art, they also served as sites of surprising formal experimentation among artists, architects, and others, who often drew upon and reconfigured the practices and principles of modernism when designing exhibition spaces and the objects within. In this book, Tymkiw reveals that a central motivation behind such experimentation was the interest in provoking what he calls "engaged spectatorship"—attempts to elicit experiences among exhibition-goers that would pique their desire to become involved in wider processes of social and political change. For historians of art, architecture, performance, and other forms of visual culture, Nazi Exhibition Design and Modernism unravels long-held assumptions, particularly concerning the ideological stakes of participation.
The Absolute Realist
This annotated anthology presents the first English translation of German photographer Albert Renger-Patzsch’s collected writings. A towering figure in the history of photography, Albert Renger-Patzsch (1897–1966) has come to epitomize New Objectivity, the neorealist movement in modernist literature, film, and the visual arts recognized as the signature artistic style of Germany’s Weimar Republic. Today, his images are regularly exhibited and widely considered key influences on contemporary photographers. Whether they capture geometrically intricate cacti, flooded tidal landscapes, stacks of raw materials, or imposing blast furnace towers, Renger-Patzsch’s photographs embody what his...
"Rival Sisters, Art and Music at the Birth of Modernism, 1815?915 "
Introducing the concept of music and painting as 'rival sisters' during the nineteenth century, this interdisciplinary collection explores the productive exchange-from rivalry to inspiration to collaboration-between the two media in the age of Romanticism and Modernism. The volume traces the relationship between art and music, from the opposing claims for superiority of the early nineteenth century, to the emergence of the concept of synesthesia around 1900. This collection puts forward a more complex history of the relationship between art and music than has been described in earlier works, including an intermixing of models and distinctions between approaches to them. Individual essays from art history, musicology, and literature examine the growing influence of art upon music, and vice versa, in the works of Berlioz, Courbet, Manet, Fantin-Latour, Rodin, Debussy, and the Pre-Raphaelites, among other artists.
Reconstructing Exhibitions in Art Institutions
Reconstructing Exhibitions in Art Institutions spans exhibition histories as anti-apartheid activism within South African community arts; collectivities and trade unions in Argentina; Civil Rights movements and Black communities in Baltimore; institutional self-critique within the neoliberal museum; reframing feminisms in USA; and revisiting Cold War Modernisms in Eastern Europe among other themes. An interdisciplinary project with a global reach, this edited volume considers the theme of exhibitions as political resistance as well as cultural critique from global perspectives including South Africa, Latin America, Eastern Europe, USA and West Europe. The book includes contributions by ten a...
The Nazi Worker
The Nazi Worker is the second in a three-volume project on the figure of the worker and, by extension, questions of class in twentieth-century German culture. It is based on extensive research in the archives and informed by recent debates on the politics of emotion, the end of class, and the future of work. In seven chapters, the book reconstructs the processes by which National Socialism appropriated aspects of working-class culture and socialist politics and translated class-based identifications into the racialized communitarianism of Volksgemeinschaft (folk community). Arbeitertum (workerdom), the operative term within these processes of appropriation, not only established a discursive ...
A Pedagogy of Witnessing
This outstanding comparative study on the curating of "difficult knowledge" focuses on two museum exhibitions that presented the same lynching photographs. Through a detailed description of the exhibitions and drawing on interviews with museum staff and visitor comments, Roger I. Simon explores the affective challenges to thought that lie behind the different curatorial frameworks and how viewers' comments on the exhibitions perform a particular conversation about race in America. He then extends the discussion to include contrasting exhibitions of photographs of atrocities committed by the German army on the Eastern Front during World War II, as well as to photographs taken at the Khmer Rouge S-21 torture and killing center. With an insightful blending of theoretical and qualitative analysis, Simon proposes new conceptualizations for a contemporary public pedagogy dedicated to bearing witness to the documents of racism.
Art, Exhibition and Erasure in Nazi Vienna
This book examines three exhibitions of contemporary art held at the Vienna Künstlerhaus during the period of National Socialist rule and shows how each attempted to culturally erase elements anathema to Nazi ideology: the City, the Jewess and fin-de-siècle Vienna. Each of the exhibits was large scale and ambitious, part of a broader attempt to situate Vienna as the cultural capital of the Reich, and each aimed to reshape cultural memory and rewrite history. Applying illuminating theories on memory studies, collective and public memory, and notions of "memoricide," this is the first book in English to focus on visual culture in the period when Austria was erased as a nation and incorporated into the Third Reich as "Ostmark." The organization, content and publications surrounding these three exhibits are explored in depth and set against the larger political changes and dangerous ideologies they reflect. The book will be of interest to scholars working in art history, museum studies, cultural history, memory studies, art and politics and Holocaust studies.
Photography in the Third Reich: Art, Physiognomy and Propaganda
This lucid and comprehensive collection of essays by an international group of scholars constitutes a photo-historical survey of select photographers who embraced National Socialism during the Third Reich. These photographers developed and implemented physiognomic and ethnographic photography, and, through a Selbstgleichschaltung (a self-co-ordination with the regime), continued to practice as photographers throughout the twelve years of the Third Reich. The volume explores, through photographic reproductions and accompanying analysis, diverse aspects of photography during the Third Reich, ranging from the influence of Modernism, the qualitative effect of propaganda photography, and the util...
Objects in Exile
An essential examination of how emigration and resettlement defined modernism In the fraught years leading up to World War II, many modern artists and architects emigrated from continental Europe to the United States and Britain. The experience of exile infused their modernist ideas with new urgency and forced them to use certain materials in place of others, modify existing works, and reconsider their approach to design itself. In Objects in Exile, Robin Schuldenfrei reveals how the process of migration was crucial to the development of modernism, charting how modern art and architecture was shaped by the need to constantly face—and transcend—the materiality of things. Taking readers fr...
Architecture and Dystopia
A homage to the 1973 publication of Architecture and Utopia by Manfredo Tafuri—echoed in the title—this book is devoted to the radical experiences of the 1960s and to their consequences for the most recent developments in contemporary architecture. As a response to the profound crisis of Western culture the emerged in the 1960s, radical artists from Italy, Austria, England and Japan called into question the foundations of modernist utopias. They transmuted the difficulties of capitalism into a repertory of startling images that revealed the disturbing realities of consumer society, even in those places still resistant to the penetration of modern architecture, such as Superstudio and Arc...
