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graphic art

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Journal Article
New German Critique (2018) 45 (1 (133)): 207–245.
Published: 01 February 2018
... graphic art References Allen Roy F . 1983 . Literary Life in German Expressionism in the Berlin Circles . Ann Arbor : UMI Research Press . Baedeker Karl . 1927 . Baedekers Berlin und Umgebung . Leipzig : Baedeker . Baranowski Shelley . 2004 . Strength through Joy...
Journal Article
New German Critique (2009) 36 (2 (107)): 185–205.
Published: 01 August 2009
... between the wars;39 the showcasing of his poster Five Fingers Has the Hand in the article “Affi ches electorales allemandes,” translated by Frenzel for the French graphic arts mag- azine Art et métier graphique (1928); Franz Roh and Jan Tschichold’s Foto- Auge (catalog of the FIFO exhibition...
Journal Article
New German Critique (2012) 39 (2 (116)): 11–24.
Published: 01 August 2012
... effectively branded itself in discus- sions that examine graphic art’s purpose rather than only celebrate its abstract- ness.23 A comprehensive examination of Gropius’s talent as a publicist, his effective deployment of branding, and his less successful attempts to commer- cialize what had been a state...
Journal Article
New German Critique (2017) 44 (1 (130)): 87–107.
Published: 01 February 2017
... and considered enemies of the Nazi regime. Also, it was not only paintings, sculptures, and decorative and graphic arts swept up by the Nazis from prewar collections but also historic armaments, tapestries, and libraries. Far more difficult to identify, many of those objects remain in the hands...
Journal Article
New German Critique (2017) 44 (2 (131)): 41–73.
Published: 01 August 2017
... hanger? When the possessions of life were monopolized by 76. Growald, “Reklame-Kunst,” 77. On the same topic, see Zschocke, Muss die Reklame künst­ lerisch sein um zu wirken? 77. Saager, Die Kulturmission der Reklame, 15. 64  Dada businessmen, the plastic and graphic arts could...
Journal Article
New German Critique (2019) 46 (2 (137)): 35–63.
Published: 01 August 2019
... reflected the country’s industrialization and social change, 63 and others closer to the cutting edge of photographic and graphic art. The Blauen Bücher had themselves once been at the forefront of German book design and advertising—Langewiesche had joined the German Werkbund in 1912 and enthusiastically...
Journal Article
New German Critique (2017) 44 (1 (130)): 169–203.
Published: 01 February 2017
... from American pop’s strategies is problematic, as it denies the emer- gence of a homegrown appropriative pop aesthetic. Either way, it seems clear that there were many artists—particularly those working in graphic design,   9. See Mensch, Modern Art at the Berlin Wall, 147. Glöckner’s first...
Journal Article
New German Critique (2009) 36 (2 (107)): 133–183.
Published: 01 August 2009
...-ranging in the practices it supported, the October association promoted especially those arts that shared with modern industrial production its primary condition of technological reproducibility, such as graphic design, photomontage, photography, and cinema. These it regarded as more fully con...
Journal Article
New German Critique (2021) 48 (2 (143)): 23–41.
Published: 01 August 2021
...,” Adorno’s lecture dating to 1932, offers important resources for interpreting the claim of art’s truth content. Reading the lecture’s core idea of transience, the article proposes that the form of philosophical interpretation Adorno develops there illuminates one way to clarify what Adorno means...
Journal Article
New German Critique (2008) 35 (2 (104)): 1–31.
Published: 01 August 2008
... are guar- anteed by the existence of an original and reference thereby to a particular his- tory of production. Goodman is quick to point out that the distinction between the singular and multiple arts is not exactly coincident with that between auto- graphic and allographic arts. This is crucial...
Journal Article
New German Critique (2006) 33 (3 (99)): 121–149.
Published: 01 November 2006
... and transcendent. Because the aperture of the photographic apparatus Rilke describes never closes, there can be no duration of the image. And for Rilke this is in confl ict with his understanding of the function of art, described in the context of his admira- tion for the sculptor Auguste Rodinʼs work...
Journal Article
New German Critique (2018) 45 (1 (133)): 49–78.
Published: 01 February 2018
..., decontextualizing an object and investing it with new meaning: The artfulness of the ethnographic object is an art of excision, of detach- ment, an art of the excerpt. . . . Perhaps we should not speak of the ethno- graphic object but of the ethnographic fragment. Like the ruin, the ethno...
Journal Article
New German Critique (2018) 45 (2 (134)): 99–132.
Published: 01 August 2018
... in his “Nature Poems,” which, when compared with the house, neighborhood, and landscape today, remain extremely accurate in their representation and placement of landmarks. Those physical objects that make appearances in poems—such as furniture, masks, and graphic art—are also often precisely represented...
Journal Article
New German Critique (2012) 39 (1 (115)): 27–48.
Published: 01 February 2012
... (Reinbek: Rowohlt, 2006), 301–2. For a different approach to the “spatial” and “topo- graphical” turns on both sides of the Atlantic, see Sigrid Weigel, “Zum ‘topographical turn’: Kartog- raphie, Topographie und Raumkonzepte in den Kulturwissenschaften,” KulturPoetik 2, no. 2 (2002): 151–53. Weigel...
Journal Article
New German Critique (2017) 44 (1 (130)): 9–33.
Published: 01 February 2017
... is in a complete rage.”28 Hitler himself remarked in his opening speech—in which he tellingly had to emphasize the quality of the graphic works submitted—that the development of a new German art would be a long process: “And when sacred conscientiousness once again comes to its right in this field, then, I...
Journal Article
New German Critique (2011) 38 (1 (112)): 155–180.
Published: 01 February 2011
... of the Cold War—is one such place. In this article I examine how a photo- graphic journey along the iron curtain circa 1959 mobilizes visual legacies 13. Dieter Felbick, Schlagwörter der Nachkriegszeit, 1945–1949 (Berlin: de Gruyter, 2003), 356. 14. Ibid. 15. For examples of their synonymous use...
Journal Article
New German Critique (2013) 40 (3 (120)): 1–40.
Published: 01 November 2013
... “archival art” but also as an effort to come to terms with an “archive” already present in the 1920s: namely, the proliferation of photo- graphic and filmic images of the world. The appeal of such cross-sectional montage, I argue, lay in its status as a model of ordering, one that promised...
Journal Article
New German Critique (2017) 44 (1 (130)): 143–167.
Published: 01 February 2017
... (Handwriting and Character, 1917), where he proposes that handwriting not be read rationally, that is, as meaningful language, but vitally, as the graphic 9. That Worringer’s cultural diagnosis disguises a nationalist polemic is unsurprising given the enduring historical entwinement of end-of-art...
Journal Article
New German Critique (2009) 36 (2 (107)): 5–51.
Published: 01 August 2009
.... But their aggressive poetry and manifesto missives struck with a comparable impact. Richard Huelsenbeck, cofounder of Zurich Dada, began the evening by shouting his manifesto for a new art driven by the authentic torment and violence of the moment.3 The poet Else Hadwiger then read her translated excerpts...
Journal Article
New German Critique (2006) 33 (2 (98)): 65–76.
Published: 01 August 2006
... Saxony, Germany, who emerged from the rubble of World War II to immerse himself in the cultural politics of a major communist state; the other a politically naive and dedi- cated individualist from Waco, Texas, of the 1950s, committed to the com- mercial success of his art and career. What drew...