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Die in vielen Museen der DDR präsentierte „Geschichte der Urgesellschaft" war ein fester Bestandteil des nationalen Geschichtsbilds des „Arbeiter- und Bauernstaats" und unterstützte die historische Legitimierung der SED-Diktatur. Allerdings besaß die sozialistische Urgeschichtserzählung mit dem in der NS-Zeit propagierten Bild der „Germanischen Vorzeit" ein ideologisch hoch belastetes Erbe. Die Museen standen angesichts des politisch verordneten Antifaschismus vor der Aufgabe, in ihren Ausstellungen den narrativen Turn vom „germanischen" zum marxistischen Urgeschichtsbild zu meistern. Entlang eines umfangreichen Korpus an Ausstellungsfotos analysiert die Studie die museale Darstellung der Urgeschichte in der SBZ und DDR sowie die Diskurse, die zum Wandel oder zur Beständigkeit von Geschichtsbildern führten. In the German Democratic Republic (GDR), prehistory was part of the national narrative that served to legitimize the dictatorial regime of the Socialist Unity Party of Germany (SED). However, the socialist conception of prehistory came up against a heavily loaded ideological legacy in the wake of the notions of ‘German prehistory’ that had been espoused during the National Socialist period. Museums were tasked with mastering the politically prescribed narrative shift from an ethnic-nationalist conception of prehistory to a Marxist one. Using an extensive body of exhibition photos, this doctoral project analyses the depiction of prehistory in museums of the Soviet Occupation Zone and the GDR as well as discourses that led to the alteration or persistence of related concepts.

ART / History / Modern (late 19th Century to 1945). --- Public History, history of museums, German Democratic Republic.

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Es ist eine häufig erzählte Geschichte, dass Paris am Anfang des 20. Jahrhunderts das Weltzentrum der Kunst gewesen sei. Dieses Buch fragt danach, welchen Beitrag Ausstellungen zwischen 1921 und 1946 zur Entwicklung und Verbreitung dieser Erzählung geleistet haben. Es beleuchtet Ausstellungen in den Cafés des Pariser Viertels Montparnasse und die internationalen Ausstellungen der "École de Paris". So treten konkurrierende Sichtweisen auf Paris als Zentrum und Kreuzungspunkt der Kunstwelt hervor. Dieses Buch bietet erstmals einen chronologischen sowie topographischen Überblick über diese Ausstellungen. Zudem löst es die kunsthistorische Forschung zur "École de Paris" aus ihrer auf Paris fokussierten Perspektive und analysiert seinen Gegenstand im Horizont transkultureller Dynamiken. Bietet eine neue Sichtweise auf die "École de Paris" Ausstellungsgeschichte moderner Kunst Katalog zu den Caféausstellungen in Montparnasse und den internationalen Ausstellungen der "École de Paris" Blick ins Buch It is a frequently told story that Paris was the world center of art at the beginning of the 20th century. This book asks what contribution exhibitions between 1921 and 1946 made to the development and dissemination of this narrative. It highlights exhibitions in the cafés of the Montparnasse neighborhood of Paris and the international exhibitions of the "École de Paris." Competing views of Paris as the center and crossroads of the art world thus emerge. This book offers for the first time a chronological as well as topographical overview of these exhibitions. It also detaches art historical research on the "École de Paris" from its Paris-focused perspective and analyzes its subject in the horizon of transcultural dynamics. Offers a new perspective on the "École de Paris". History of exhibitions of modern art Catalog of the café exhibitions in Montparnasse and the international exhibitions of the "École de Paris". Look inside

ART / History / Modern (late 19th Century to 1945). --- abstraction, Ecole de Paris, art market.

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Gegenwärtig brechen in verschiedenen Gesellschaften Ikonoklasmen mit neuer Gewalt auf. Angriffe gegen Objekte visueller materieller Kultur und Geschichtszeugnisse bieten Zündstoff für gesellschaftliche Auseinandersetzungen. Sie sind Ausdruck politischer, religiöser, nationaler und identitätsbedingter Konflikte. Selbst die Freiheit der Kunst ist durch Zensur und Cancel Culture bedroht. In Fallstudien aus verschiedenen Regionen der Welt werden zeitgenössische Ikonoklasmen in Kunst, Medien und im Umgang mit dem Kulturerbe in globaler und interdisziplinärer Perspektive einer kritischen Analyse unterzogen. Die Publikation befasst sich mit Angriffen auf Denk- und Mahnmäler, Auseinandersetzungen in der Kunstproduktion und im Museumsbetrieb sowie mit Formen eines medialisierten Ikonoklasmus in der zeitgenössischen Kunst. In many contemporary societies we encounter iconoclasm breaking out with renewed violence. Iconoclastic actions against objects of visual material culture and testimonials of history act as dynamite in the public sphere. They are expressions of political, religious, national, and identity conflicts. Even the freedom of art is threatened by censorship and cancel culture. Based on case studies from different world regions, contemporary iconoclasms in art, media, and cultural heritage are critically analyzed from both a global and an interdisciplinary perspective. Divided into three sections, the book discusses attacks on monuments and memorials, idol disputes in museums and the visual arts, and forms of mediated iconoclasm in contemporary art.

ART / History / Modern (late 19th Century to 1945). --- 20th century. --- 21st century. --- Cultural Heritage. --- Iconoclasm. --- Visual Studies. --- art. --- destruction. --- idols.

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Die nationalsozialistische Kunstpolitik prangerte Otto Dix (1891-1969) und sein veristisches Werk als »sittlichkeitsgefährdend« und »den Wehrwillen des deutschen Volkes beeinträchtigend« an. Als Reaktion wandelte sich Dix zu einem Maler, der motivisch und stilistisch zwischen Konservatismus und kritischer Stellungnahme oszillierte und trotz Verfemung nach Anerkennung suchte. Dieser erzwungene künstlerische Umbruch führte auch zu »verborgenen«, teils subversiven, teils widersprüchlichen Ikonografien, denen sich das vorliegende Buch widmet. Analysiert wird die Kunst des Malers vor dem Hintergrund der kunstpolitischen Entwicklungen in Deutschland von der Weimarer Republik bis in die Nachkriegszeit; sämtliche Gattungen – Landschaften, Porträts und (christliche) Figurenbilder – werden betrachtet. The National Socialist arts policy denounced Otto Dix (1891–1969) and his verist oeuvre for "endangering public morality" and "adversely affecting the fighting spirit of the German people." Dix reacted by becoming a painter who oscillated in motifs and style between conservatism and critical commentary, and sought recognition despite being defamed. This forced, radical artistic transformation also led to "concealed," in part subversive or contradictory iconographies, to which this book is dedicated. The painter’s art is analyzed against the backdrop of developments in the arts policy in Germany and the Weimar Republic until into the postwar period; all genres—landscapes, portraits, and (Christian) figurative pictures—are examined.

ART / History / Modern (late 19th Century to 1945). --- National Socialism. --- Otto Dix. --- Weimar Republic. --- painting. --- politics. --- Aesthetics of art --- Painting --- doctoral dissertations --- kunst en politiek --- Dix, Otto

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"The artist and architect El Lissitzky (1890-1941) is celebrated for his contributions to painting, architecture, photography, and graphic design, and for his role in disseminating Russian and Soviet avant-garde art in Europe during the 1920s. Though he worked in a diversity of media, Lissitzky nonetheless produced the majority of his work on paper in the form of innovative photomontages, architectural drawings, lithographs, typography, books, and photo magazines. This monograph--the first career-spanning archival study of Lissitzky since 1968--reveals that the artist's multiple pursuits arose from his deep commitment to print as the premier medium of public exchange in the young and turbulent twentieth century. Samuel Johnson demonstrates that paper and print media were preoccupations that shaped Lissitzky's worldview, values, politics, and production in ways that have never been fully appreciated. Probing Lissitzky's stance on the problems of distribution and reception, this book offers a compelling and nuanced portrait of Lissitzky as experimenter, visionary designer, technocrat, and propagandist-the very prototype of the twentieth-century artist, with a legacy that remains largely on paper"-- "An examination of the importance of paper in the work of Soviet artist, designer, and architect El Lissitzky. Russian artist El Lissitzky's work spans painting, photography, theatrical and exhibition design, architecture, graphic design, typography, and literature. He was active in the Jewish cultural renaissance, formed an artists' collective with Kazimir Malevich, was a key figure in the dissemination of early Soviet art in Western Europe, and designed propaganda for the Stalin regime. With such a varied history and body of work, scholars have often struggled to identify the core principles that tied his diverse oeuvre together. In El Lissitzky on Paper, Samuel Johnson argues that Lissitzky's commitment to creating works on paper is a constant that unites his endeavors. Paper played a key role in the utopian projects that informed Lissitzky's work, and the artist held a commitment to print as the premier medium of immediate public exchange. Johnson analyzes and contextualizes this idea against the USSR's strict management of this essential resource and the growth of new media communications, including the telephone, telegraph, and film. With this book, Johnson presents a significant contribution to scholarship on this major artist, revealing new connections between Lissitzky's work in architecture and visual art and bringing to light sources from largely unstudied Russian archives. "--

Design --- Art, Soviet. --- Architecture --- Graphic arts --- Avant-garde (Aesthetics) --- ART / History / Modern (late 19th Century to 1945) --- ARCHITECTURE / History / Modern (late 19th Century to 1945) --- History. --- Lissitzky, El,