Art In Germany Research Articles

Analyze the Study of Expressionism in the Field of Visual Communication Design

Expressionism is a complex term with different meanings in different periods. When we think of Expressionism, we think of the trend of French Impressionism, or of a wave of art in Germany and Austria in the early 20th century. The term Expressionism has a wide connotation and can include many painters. The Expressionist works represented by Munch's "The Scream" in this paper have played an active role in promoting the development of Expressionism and made an important contribution to contemporary art. Today, with the diversified development of contemporary art, it is possible to analyze the field of design from the perspective of Expressionism and explore the development characteristics suitable for visual communication design. In this paper, the influence of Expressionism on visual communication design is explained, starting from the color expression and artistic characteristics of Expressionism.

Crashed Electric Vehicle Handling and Recommendations—State of the Art in Germany

Crashed Electric Vehicle Handling and Recommendations—State of the Art in Germany

ENVIRONMENT AND ECOLOGY ISSUES IN WORKS OF GERMAN STREET ART

This article deals with the development of environmental and ecological issues in Germany since the 1970s, and how these issues are represented in works of street art since the beginning of the development of modern graffiti, and later street art, in Germany. The purpose of this research is to identify differences in the ecological and environmental issues in works of graffiti and street art from the 1970s to present day in Germany. This has been done by examining general themes of environmental and ecological issues in graffiti and street art and by studying some of the specific examples of artwork, using research methods by visual analysis based on study “Reading Images: The Grammar of Visual Design” by Gunther Kress and Theo van Leeuwen, and visual analysis of iconography and iconology, described by Marion G. Müller in “The SAGE Handbook of Visual Research Methods” by Eric Margolis and Luc Pauwels. The first phase of the research involves an overview of the socio- political background of the ecological and environmental issues in Germany since the 1970s, as well as development of modern graffiti and street art in Germany in the context of ecology and environment, using the method of iconology. The second phase involves examining physical examples of graffiti and street art in Germany. The final phase deals with regional differences reflected in artists’ work in Germany. This article will provide general insights in graffiti and street art in Germany and it will explore how German artists tackle the environmental and ecological issues in their works.

Guidelines of the German Association of Engineers for evaluating human work in the digital factory

Occupational Applications Starting with the first part of a guideline in 2001, a group of experts and the associated guideline committee of the German Association of Engineers (VDI) began with the production-logistical evaluation of human work related to simulation procedures and Digital Factory tools. This VDI guideline 3633 part 6 dealt with the first macro-ergonomic procedures available. Published in 2015, in VDI guideline 4499 part 4, micro-ergonomic problems related to human stress from work task were added. Nowadays, the still missing micro-ergonomic evaluation of effects by the work environment is on the way to be published as VDI guideline 4499 part 5. This paper deals with these developments, which are considered state of the art in Germany at least at the time of their publication. In addition, some examples illustrate proven possibilities, but existing gaps are also discussed.

Crashed Electric Vehicle Handling and Recommendations—State of the Art in Germany

In the near future, electric powered vehicles will represent a major part of the road traffic. Accordingly, there will be a natural increase of accidents involving electric vehicles. There are not many cases of such accidents yet and therefore the experience and correct handling are still partially open points for the involved parties, such as the rescue services for example. The aim of this work is to provide a complete overview of the accident handling sequence in Germany, starting with the damaged vehicle on site and moving on to the risks and challenges for the stakeholders, such as transport and recycling companies. Arising from the developed overview, a handling recommendation for yet undiscussed points is given. Especially, different extinguishing and deactivation methods are compared and discussed. Due to a lack of a common live-feed from battery data on site, other criteria have to be taken into account to assess the state of the battery. The wrecked vehicle—including the high voltage system—needs to be in a definite safe state at the handover to a towing service. Depending on the case, different options for securing the vehicle will be considered in this work.

Cairo-Berlin Return: early Arab-German Cooperation in Film – The Egyptian-German Example

The Arab-German cooperation in film began after World War I in 1919/1920 when the first Egyptians came to learn the then brand new art in Germany, and has been continuing with different Arab partners ever since. Yet there is neither a public nor a professional awareness of this history. When Arab and German film professionals meet at international co-production platforms today, they practically get together as strangers. Despite its richness, the common history does not serve as a point of reference. It is not written. This paper, therefore, attempts to shed light on this forgotten period of cooperation. It looks at how and why such a collaboration was initiated. Moreover, it describes its different formats and also why the Egyptian-German encounter eventually came to an end.

Rip Me to Pieces! No Moral Copyright Protection for the Destruction of Site-Specific Art in Germany

Rip Me to Pieces! No Moral Copyright Protection for the Destruction of Site-Specific Art in Germany

Advancing American Art and Intercultural Confrontations in Germany, 1945–1948

This article critically addresses the multivalent function of American art exhibitions in the period of de-Nazification and re-democratization. What kind of cultural and political parameters shaped the perception of American Art in Germany during the early post-war years? I investigate intercultural confrontations surrounding the project of advancing American art and the critical response of German audiences by first looking at the exhibition Advancing American Art from 1947. I then analyze the role of the transatlantic cultural mediator Hilla von Rebay to understand developments in the German perspective on American art. The German-born artist von Rebay emigrated in 1927 to the United States and organized the German tour of Zeitgenössische Kunst und Kunstpflege in U.S.A. (Contemporary Art and the Promotion of Arts in the U.S.A.) authorized by the Office of Military Government, United States (OMGUS) in 1948. The project of ‘advancing American art’ resembles a struggle with many setbacks due to lack of official support and finding a larger public in the early years after World War II.

1945년 이후 독일미술: 분열과 갈등으로부터 화합의 장으로

본 논문은 독일의 분단이후, “상상할 수 없을 정도의 문화적인 황폐”로부터 “자유의 극대화”를 이루기까지 독일의 통일과정을 미술과 미술사적인 관점에서 기술한 것이다. 더불어 정치적인 역할에도 포커스를 맞추어 통일의 과정에서 견인차 역할을 했던 미술과 정치의 상호보완적인 관계에도 주목했다. 1945년 이후 독일은 이념적 분열과 갈등으로 점철되었고 냉전 체제속 미술제전은 미국과 소련의 이념적 대리전 양상을 보여 서독에서는 미국과 프랑스의 영향을 받은 ‘추상’이 동독에서는 소련의 영향을 받은 사회주의 미술로 대립각을 세웠다. 독일 통일의 초석은 수상 브란트의 ‘동방정책’으로부터 시작되었고 1977년 카셀도쿠멘타에서 발화된 동서 미술가들의 불화는 오히려 두 나라가 통일에 대해 숙고하는 시간으로 전환되었다. 1980년대 초 ‘독일적인 미술’의 전통을 잇고자하는 ‘젊은 야수’그룹의 등장과 그 변화를 추적하는 미술사학자들의 연구는 독일의 통일을 이루는 연결고리가 되었다. 동서독의 통일은 통일 축제에 동독의 사회주의 미술가들이 초대받지 못하면서 경직되었다. 동독미술과 문화의 소외는 노스텔지어로부터 오는 언어적 차용인 ‘오스텔지어’라는 신종개념을 생성했으며 생존을 위해 서독미술대학과의 차별화를 선언했던 라이프치히 미술대학의 전통유지 전략 아이디어는 성공했다. 오늘날 라이프치히 미술대학은 마이스터작업을 강조하며 형상미술의 전통을 유지하고 있다. 그러나 재현의 대가들의 전통을 잇고 있는 네오 라우흐를 비롯한 라이프치히 회화의 화풍에 드러나는 ‘오스텔지어’는 여전히 독일이 그리고 독일미술이 완벽하게 통합되지 않았다는 것의 반증일 것이다.

Absence as Presence, Presence as Absence: Museological Storytelling in Berlin

This article examines a long history of objects’ use in “telling stories,” and speculates on how museums and other art forms might encourage “narrations” while leaving story-telling to visitors or viewers. David Chipperfield’s 2009 “restoration” of Berlin’s Neues Museum made great efforts to preserve traces not only of the objects displayed inside, but to present an open-ended “narrative” of the building’s own history. Attempts at making historical sites “tell” stories have, meanwhile, also extended into other visual arts in Germany, of which the article examines several, discussing them in relation with the concept of “postmemory” and national narratives of identity.

European cultural event: Exhibitions of old Russian art in Germany in 1926 and 1929

European cultural event: Exhibitions of old Russian art in Germany in 1926 and 1929

The Son’s Coming Home: Narrative Economies of Joseph Beuys’ Art

This article deals with the narration of Joseph Beuys’ art in Germany. My focus is set on the ways that particular curatorial strategies have been applied to Beuys’ artistic practice in the Hamburger Bahnhof in Berlin. I contextualize the readings in the interests of different stakeholders involved in the rescaling of the artist’s heritage. Beuys’ framing in the two recent retrospective exhibitions in Berlin and Düsseldorf and the regular display of his works in the Hamburger Bahnhof leads me to argue that private collectors have become closely involved in the process of curating in novel ways, which in turn requires a new critical reading of exhibition practices. Narrative economy is a concept proposed for understanding these interests and their articulations in exhibition curation.

Praha v kontextu Beuronské umělecké školy. K výstavám beuronského umění v Německu

Praha v kontextu Beuronské umělecké školy. K výstavám beuronského umění v Německu

Немецкая история искусства XIX в.: проблемы изучения армянского средневекового наследия

The science of art in Germany is based on the classical tradition, associated with a focus on ancient heritage, and a romantic perception of Gothic as a manifestation of the national school. In the mid-nineteenth century the first General history of art appeared, which, along with the national art and culture examined regional schools. Armenian medieval art is systematized and concisely described in the work of Kugler, in Schnaase’s book analysis becomes more comprehensive, detailed and consistent.

Rudolf Belling’in Türk Heykel Sanatına Katkıları Bağlamında Şadi Çalık’ın Soyut Heykelleri

Cumhuriyetin ilaniyla birlikte, her alanda oldugu gibi sanat alaninda da yabanci sanatcilar sanat egitimi vermeleri icin ulkemize davet edilmistir. Ayni zamanda bircok ogrenci de sanat egitimi almak icin yurtdisina gonderilmistir. Bu donemde, Almanya’da Berlin Guzel Sanatlar akademisini bitiren ve ilk soyut heykeli ile taninan sanatci Rudolf Belling, Akademide heykel egitimi vermek uzere ulkemize davet edilmistir. Akademide modern akimlara ve cagin gelisimine uygun bir donem baslatmis, Turk heykeltiraslarin teknik acidan yeni yontemleri tanimasina katki saglamis pek cok ogrenci yetistirmistir. Bu sanatcinin ogrencileri arasinda olan Sadi Calik, Atolye hocasinin zanaatkâr disiplininden yararlanmis ve onun kompozisyon, kutle modlaji tekniklerinden cok etkilenmistir. Sadi Calik, Paris’te bulundugu yillarda soyut sanat etkinliklerine katilmis, cagdas sanatin, mimarinin ve tum sanatlarin onculerine tanik olmustur. Paris’ten donen sanatci, Akademide hoca olarak goreve baslamistir. Heykelde malzemenin dogasina sadik kalarak Misir ve Yunan sanatini incelemis, calismalarinda soyut anlayisi benimsemistir. Soyut disavurumcu Alman heykeltiras Uhlmann, Antoine Pevsner, Naum Gabo, Maxbill ve ressam Hans Hartung, Rothko, Fontana, Mary Vieira gibi sanatcilar onu derinden etkilemistir. Sadi Calik, heykelin mimari ile butunlesmesi gerektigine inanmis, heykellerinde uclu ve ucgen yapiyi, malzeme olarak camur, alci ve demiri kullanarak soyut heykeller yapmistir. Soyut heykellerinin yani sira anit heykellerde yapmistir. Insanin her ne olursa olsun maddeye bicim verdigi anda heykel vardir diyen Sadi Calik, gidilecek en uc noktada heykel dusuncesinin var olacagini soylemistir. Yasami boyunca heykel yaparak var olmanin ugrasini vermistir. Along with the declaration of the Republic, foreign artists have been invited to my country to give arts education in the field of arts, as it is in every area. At the same time, many students were sent abroad to study art. In this period, Rudolf Belling, an artist who finished the Berlin Academy of Fine Arts in Germany and known for his first abstract sculpture, was invited to my country to teach sculpture at the Academy. The academy has started a period suitable for modern trends and development of the age and has raised many students who have contributed to the definition of new methods of Turkish sculptors technically. Among the students of this artist, Sadi Calik has benefited from the artificer discipline of the workshop teacher and has been very influenced by his composition, mass mode techniques. During his years in Paris, Sadi Calik has participated in abstract art events, witnessing contemporary art, architecture and pioneers of all arts. Returning from Paris, the artist started working as a lecturer at the Academy. In the sculpture, he studied the Egyptian and Greek art by staying true to the nature of the material and adopted abstract understanding in his works. Artists such as abstract expressive German sculptor Uhlmann, Antoine Pevsner, Naum Gabo, Maxbill and painters Hans Hartung, Rothko, Fontana, and Mary Vieira deeply impressed him. Sadi Calik believed that the sculpture should be integrated with the architecture, used triangles and objects consisting of three parts in his sculptures, made abstract sculptures by using mud, plaster and iron as materials. In addition to his abstract sculptures, he made them in monumental sculptures. Sadi Calik said that there is a sculpture in which people shape whatever the matter, saying that there will be the idea of sculpture at the extreme point to go. Throughout his life he made sculptures and tried to exist.

Ka the Kollwitz and the women of war: femininity, identity, and art in Germany during World Wars I and II

Ka the Kollwitz and the women of war: femininity, identity, and art in Germany during World Wars I and II

First Palaeolithic rock art in Germany: engravings on Hunsrück slate

Abstract

General Pitt-Rivers and the Art of Benin

I much enjoyed Kathryn Wysocki Gunsch’s historiographical discussion in African Arts 46 (4) of the reception given to objects from Africa in the early twentieth century (Gunsch 2014). There is a huge amount of work to be done to reassess the work of our predecessors, which—aside from the intrinsic interest of such work—helps us reassess our own efforts, our own assumptions and preconceptions; and Gunsch’s article demonstrates what can be done when the available resources are put to good use. Although I do not necessarily disagree with Gunsch’s general conclusions about the differences between the reception given to African art in Germany and the UK, however, I do want to draw attention to an aspect of her thesis that—I should argue—is in need of revision. Part of Gunsch’s argument consists of a comparison between the work of Felix von Luschan (1854–1924) in Germany and that of Augustus Henry Lane Fox Pitt-Rivers (1827– 1900) in England. Gunsch provides a convincing account of von Luschan’s work, supported by references to the relevant literature, but her account of Pitt-Rivers’s work is unreferenced and misleading. Gunsch writes: “In the largest British collection of Benin works, at the PittRivers Museum, Lieutenant-General Augustus Pitt-Rivers arranged all of his African pieces in a ‘chronological’ order based on their perceived sophistication” (Gunsch 2014:26). This claim invites unpacking. To begin with, Gunsch fails to make clear to which museum she is referring. The well-known Pitt Rivers Museum (without a hyphen), where I work, was founded by the University of Oxford in 1884 to house a collection of some 26,000 antiquarian, archaeological, ethnographic, and folkloric artifacts given to it by General Pitt-Rivers. Unsurprisingly, its founding collection did not include anything from Benin, which was not sacked by the so-called Punitive Expedition until thirteen years later. Nor did General Pitt-Rivers pass any Benin objects to the Oxford museum after he began acquiring them in late 1897. Instead, as with all his post-1884 acquisitions, he added them to his “second,” private collection, which he had begun to assemble even before his “first” collection was transferred to Oxford. This “second” collection was housed in Pitt-Rivers’s private museum (often referred to as the Pitt-Rivers Museum; that is, with a hyphen) in Farnham in Dorset and elsewhere on his estate. After Pitt-Rivers’s death in 1900, this private collection remained in the hands of the family until it began to be sold off in the mid-twentieth century. The collection as a whole, and General Pitt-Rivers’s Benin collection in particular, is thus scattered in public and private collections around the world (including, for example, the Museum of Fine Arts, Boston, which recently acquired thirteen ex-Pitt-Rivers Benin pieces on loan from Robert Owen Lehman; see Geary 2013).1 It was thus in the private Pitt-Rivers Museum in Farnham, and not in its un hyphenated namesake museum in Oxford, that General Pitt-Rivers’s collection of objects from Benin was displayed. Indeed, it was—in part at least—to display the Benin collection that a new gallery (Room 9) was added to the museum in 1898.2 It apparently took some time for the collection to be installed. It was not referred to in the second edition of the Short Guide to the Farnham museum (which is undated but is known to have been printed in 1900), and was not actually completed until some time after Pitt-Rivers’s death on May 4, 1900 (Saunders 2014:219). As for how it was exhibited, it is difficult to be precise, as no photograph or description survives. What is clear from the records, however, is that the Benin collection was displayed in a separate set of cases. It was not part of an arrangement of “his African pieces in a ‘chronological’ order based on their perceived sophistication.” Rather, it was a self-contained display designed to draw attention to the collection, a catalogue of which Pitt-Rivers prepared with the title Antique Works of Art from Benin (Pitt-Rivers 1900). Moreover, it never was the case that Pitt-Rivers’s “African pieces” were arranged “in a ‘chronological’ order based on their perceived sophistication.” Famously, Pitt-Rivers’s favored mode of display was what he called “typological”; that is, objects arranged by type in evolutionary series—so that all the harpoons, say, or fire-making tools were displayed together in series supposedly demonstrating the succession of ideas Page 1,634 in Volume 5 of the manuscript catalogue of Pitt-Rivers’s “second” collection.

Between art and politics: the avant-garde art to the social-political changes in the Weimar Republic/ Między sztuką i polityką: awangarda artystyczna wobec zmian społeczno-politycznych w Republice Weimarskiej

AbstractArticle discusses the relationships between art and politics on the example of the German avantgarde, whose origins must be sought in the period before the First World War had broken out. Ideas of the German expressionism evolved under the influence of the Great War and the news from the Bolshevik Russia. Many left-wing artists in post-war Germany were involved in the revolutionary movement, especially the so-called November Revolution; after the Versailles Treaty, some of them joined the management of culture institutions and artistic schools with the famous Bauhaus School of Design at the forefront. Hitler’s rise to power brought an end to both the Weimar Republic and the avant-garde art in Germany

Istanbul Next Wave and Other Turkish Art Exhibits: From Governance of Culture to Governance through Culture

Exhibited from November 12, 2009, through January 17, 2010, three art shows under the common title Istanbul Next Wave introduced a newly narrated Turkish history of modern art to German audiences. This Turkish intervention, which led to unprecedented curatorial co-operations by established German and Turkish institutions of contemporary art, is juxtaposed with other Istanbul exhibits from the middle of the first decade of the 21st century, such as Urbane Realitäten – Focus Istanbul, berlin . istanbul . vice . versa, and Call me ISTANBUL ist mein Name, in order to examine the controversies, negotiations, and collaborations that defined recent presentations of Turkish artists’ work in Germany. In a diachronic approach focusing on questions of interventions, this article thus inquires into this particular strand of the history of exhibiting contemporary art in Germany, going back to the early displays of works by Turkish artists in the 1970s and 1980s. Layer by layer, it examines the intricate relations between the presentation of Turkish art and the representation of Turks in Germany, which have done more than merely reflecting, shaping, and molding audiences’ receptions, reviews in the media, and public debates at large. The paper aims at evaluating Turkish art interventions in Germany in relation to processes of Europeanization.