This short peer-reviewed article looks at this extreme right-wing art group’s actions against Otto Dix from 1927. The term ‘Degenerate Art’ is well known, especially with regard to the infamous exhibition that took place in Munich in 1937. However, one of the earliest Degenerate Art shows took place place in Dresden in September 1933. Dresden had a number of volkisch art groups, active from the early Weimar years, which were affiliated with the NSDAP and which targeted art that they considered ‘un-German’. The German Art Society was well connected to NSDAP from the early 1920s and was instrumental in the assured destruction of Dix’s career once the NSDAP took power in January 1933. The article can be read here.
I’m delighted to see my Adobe InDesign skills in print! This lovely booklet about those commemorated on the World War I memorial at St Peter’s, North Main St., Cork, written by Cork war historian Gerry White, sponsored by Cork City Council and designed and laid out by yours truly, is now on sale at St Peter’s. The memorial is undergoing restoration and will be unveiled in the near future.
It was a pleasure to give a talk, via Zoom, on Romanesque art and architecture to the group at Orthodox Tours, led by Fr. Gotlinsky, Rector/Tour Leader, at the Dormition of the Virgin Mary Orthodox Church, Binghampton, New York. The talk focused especially on the art and architecture of pilgrimage, found on or close to the Way of St James (Camino de Santiago de Compostela), from central France to Santiago de Compostela. Fr Gotlinsky leads cultural tours across Europe and Russia, taking in sacred sites from early Christianity onward.
It was great to present this talk on Käthe Kollwtiz and her role in the German No More War movement to SCAD’s wonderful students, led by Prof. Andrew Nedd, via Zoom. The talk highlighted the centrality of Kolwitz and cultural figures such as Ernst Barlach, Frans Masereel, George Grosz, Carl von Ossietzky, Kurt Tucholsky, Ernst Friedrich, Romain Rolland, Stefan Zweig, Ernst Toller and Helene Stöcker, among others to countering militarist culture in Germany and beyond. I was delighted by the students’ willingness to engage with the topic and ask questions afterward. All in all, a stimulating evening.
I am delighted that my essay ‘Between Art and History: Reconfiguring the Memory of World War I in Otto Dix’s Metropolis’, is now published in Artistic Expressions and the Great War, A Hundred Years On, ed. by Sally Charnow (New York: Peter Lang, 2020). DOI: https://doi.org/10.3726/b15605
About this chapter: Otto Dix’s thirty-eight months as a frontline soldier were the key to much of his post-war output. Alongside numerous portraits and other commissioned work, his portrayal of post-war German society and the war experience made him one of Germany’s most internationally known and controversial living artists. His sparse commentary on his work during the 1920s and 1930s have only enhanced the pictures’ enigma, then and since. Yet, much may be gleaned as to how the works engaged with the memory of the war in Germany by address to cultural and political conditions, and by examining the reception of the work by cultural critics. This chapter examines how Dix’s large triptych Metropolis (Figure 1) contributed to the shaping of war memory in Germany in 1928, ten years after the armistice, treating how the artist’s invocation of German artistic traditions and revocation of prevailing models of militant identity worked to reconfigure German memorialisation of World War I.
I am delighted to announce that I have been invited to join the Topics Board of Arts (ISSN 2076-0752), an international peer-reviewed open access journal, listed on Clarivate’s Web of Science ESCI (Emerging Sources Citation Index). Arts is published quarterly online by MDPI in March, June, September and December. I am delighted to be placed among such great academic and professional company and look forward to collaborating.
In the Fray: Making and Meaning in Jenny Bowker’s Memorial Quilt After the Last Sky, H-Art Issue 7, Universidad de los Andes (Uniandes), Bogotá, Colombia, July 2020
This essay explores meaning and materiality in the monumental memorial quilt After the Last Sky by Australian art-quiltmaker Jenny Bowker, which memorialises the suffering of protesters during the Rabaa Square Massacre in Cairo on 14 August 2013. The essay shows how Bowker’s migration of the photographic image to quilt form, as well as the quilt’s meaningful, strategic use of medium and relevance to current artistic developments challenge the limits placed on textiles as art. Read full article online (journal webpage)
Resumen – Español: En la Refriega:1 La Creación y el Significado en el Edredón Conmemorativo After the Last Sky [Después del Último Cielo] de Jenny Bowker
Este ensayo explora el significado y la materialidad en el monumental edredón conmemorativo After the Last Sky de la artista australiana Jenny Bowker, que conmemora el sufrimiento de los manifestantes durante la Masacre de la Plaza de Rabaa en El Cairo el 14 de agosto de 2013. El ensayo muestra como el trabajo de Bowker pone a prueba los límites impuestos al textil en cuanto medio artístico a través del traslado de la fotografía a la forma de edredón, haciendo también un uso estratégico de este medio que le da relevancia en el marco de los desarrollos artísticos actuales. Leer ensayo completo
This is an interactive, short introduction to the topic and can be downloaded as a PDF.
I am delighted to be among the recipients of the Royal Irish Academy’s Charlemont Grants, which are awarded to outstanding early career researchers in the humanities, social sciences and sciences. The scheme facilitates short international visits from Ireland for the conduct of primary research. The grant will enable me to continue researching my book project on German artist Otto Dix’s war pictures.
‘Käthe Kollwitz: Memorialisation as Anti-Militarist Weapon’, Arts – Special Issue: World War, Art, and Memory: 1914 to 1945, ed. by Andrew Nedd, 2020.
Abstract: This essay explores Käthe Kollwitz’s anti-war graphic work in the context of the German, and later, international No More War movement from 1920 to 1925, where it performed an important role in anti-militarist campaigns, exhibitions and publications, both in Germany and internationally. Looking at Kollwitz’s production closely, we discover a deeply pragmatic artistic strategy, where the emotionality of Kollwitz’s famed prints was the result of tireless technical, formal and compositional investigation, contrived to maximise emotional impact. By choosing the easily disseminated medium of printmaking as her main vehicle and using a deliberately spare but powerful graphic language in carefully chosen motifs, Kollwitz intended her art to reach as broad an audience as possible in engaging anti-war sentiment. In connection with the leading anti-war voices of the time, including French Nobel Prize-winning writer Romain Rolland and the founder of War Resisters’ International, Helene Stöcker, she deployed her work to reach beyond the confines of the art gallery and into internationally distributed posters, periodicals and books. Keywords: World War I; German art; anti-war; Käthe Kollwitz; Weimar; printmaking; graphic art; anti-militarism; memory; memorialization; No More War movement; modernism. Read …