... Gebrauchsgrafik (commercial graphic art) in journals, books, or newspapers.13 Focusing on both the text and 11. Der Querschnitt was published between 1921 and 1936 and comprised 152 editions. During this period it was published by four presses, including Galerie Flechtheim Berlin-Düsseldorf between...

... 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...

... of the degree to which modernist spectacle distracted workers from their class interest.22 New attention has also been paid to the school’s own engagement with advertising and even to the way that it so effectively branded itself in discus- sions that examine graphic art’s purpose rather than only...

... for the return of a Persian tapestry illustrates that in Poland the targets included nobles, intellectuals, politicians, the clergy and churches as well as Jews and others devalued and considered enemies of the Nazi regime. Also, it was not only paintings, sculptures, and decorative and graphic arts swept...

... 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...

... 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 major trip was to documenta in 1955, and the Picasso exhibition at the Kunsthalle Hamburg the following year. His old age did...

...-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...

... 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 embraced that organization’s ethos...

...,” 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...

... 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...

... of representation, the one a ceaseless opening to the present and the other atemporal 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...

..., 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...

... (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...

... 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. 7. Simone de Beauvoir’s Second Sex , published in 1949, well articulates these gendered realities. See...

... exhibition a year than exhibit such crap. . . . He 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...

... 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...

... “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...

... 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 theses and nationalist German laments concerning the lack of, or need...

.... 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...

... 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 them together was a pro- found disdain...