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War and trauma are fundamental human experiences and central to German history, especially in the twentieth century. This volume considers the multivalent aspects of art that responds to war, beginning with art conceived in response to the First World War and examining art and photography in the wake of the Holocaust and more recent conflicts.
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CONTENTS: Barbara McCloskey: Introduction: What Can Art Do? - Robert C. Kunath: World War I, German Art, and Cultural Trauma: The Birth of the «Degenerate Art». Exhibition from the «Spirit of 1914» - Deborah Ascher Barnstone: Max Liebermann's Kriegszeit Lithographs: Pro-war or Anti-war? - Nina Lübbren: Women, War, and Naked Men: German Women Sculptors and the Male Nude, 1915-1925 - James A. van Dyke: Dix Petrified - Katrin Dettmer: «All of a sudden, there was this split»: Heiner Müller's Poetics of Trauma - Justin Court: Heimrad Bäcker: Photography at the Limits of Understanding the Holocaust and its Violence - David Kenosian: Aftershocks: (Missing) Holocaust Photographs and Writing the Past in Uwe Johnson's Jahrestage and W. G. Sebald's «Max Ferber» - Annette Vowinckel: Horst Faas, Thomas Billhardt, and the Visual Vietnam War in the Two Germanys - Andrea Gyorody: This Sum of Catastrophes: Excavating the History of Joseph Beuys's 7000 Oaks - Svea Braeunert: Deferring Perspective in Times of Urgency: Louise Lawler Looks at Gerhard Richter's Painting of the Air War.
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Deborah Ascher Barnstone is Professor of Architecture and Associate Head of School at the University of Technology Sydney. Her primary research interests are twentieth- and twenty-first-century German and Dutch art and architecture and classical modernism. She is the author of The Break with the Past? German Avant-garde Architects, 1910�25 (2017), Beyond the Bauhaus: Cultural Debates in Breslau, 1918�33 (2016), and The Transparent State: Architecture and Politics in Postwar Germany (2005). She is co-editor with Thomas O. Haakenson of the German Visual Culture series at Peter Lang.
Barbara McCloskey is Professor and Chair of the Department of History of Art and Architecture and Director of the University Art Gallery at the University of Pittsburgh. She has published widely on the subject of twentieth-century German art and politics. She is the author of George Grosz and the Communist Party: Art and Radicalism in Crisis, 1918�36 (1997), Artists of World War II (2005), and The Exile of George Grosz: Modernism, America, and the One World Order (2015). Her current research explores the relationship between art and radical pedagogy in Weimar Germany.
