German Art From Beckmann to Richter Images of a Divided Country Intro Pdf

And in the 1960s it fifty-fifty became acceptable to depict people at play and allude to the beginnings of a modest version of the consumer society. [65]

Joseph Beuys, Eurasia, 1963; Joseph Beuys, I love America, and America loves me, 1974

In Westward Germany, as elsewhere in the western art world, art practices expanded across traditional categories in the 1960s and 70s to include performance art, video, ephemeral and multiple works of art. [66]

Much of this was politically motivated against the new consumer society and every bit a critique of the older generation, whose authority was now being questioned in calorie-free of new revelations of Germany's Nazi by. The most important and influential artist of his generation was Joseph Beuys. A political activist, Beuys believed in art's potential to transform society.  Through the inclusion of performances, environments, documents, multiples, and drawings, Beuys aimed at the fusion of art and life. He tailored his fine art and personality on the model of the shaman, the artist healer of archaic hunting societies who served every bit mediator between society and its ills and the forces beyond.

Joseph Beuys, Ausfegen, 1972

In his performance "Ausfegen," literally sweeping clean, he and two students used a red broom to make clean upwardly the droppings left over from a left-wing  May-Day demonstration on the Karl Marx Platz in East Berlin, demonstrating thereby that his critique is directed equally much at the Soviet controlled east as the capitalist West. [67]

Beuys, Auschwitz Demonstration, 1956-1964

Beuys was also the offset German artist to try to deal with the commemoration of the Holocaust. His sculpture "Auschwitz Demonstration" belongs to what he chosen his "social sculptures". In a vitrine, resembling a medical cabinet, he positioned ii blocs of fat on meridian of a cooker, which is not plugged in and is therefore unable to provide the necessary oestrus to warm the fat and depriving it of its malleability.

For Beuys fat, equally well as bees' wax were in their malleability symbolic of the transformative qualities he aimed for in his art. [68] In his process, his employ of happenings, Beuys was heavily influenced by Fluxus. Fluxus, an international movement that had originated in the U.S., was based on the concept of Dada inspired anti-art, which aimed at recreating the feel of existence office of the real world. [69] Beuys' famous merits that everyone is an artist has to be understood under that angle. His nearly famous Fluxus event in 1963 started with a happening, in which Beuys filled a discarded pianoforte with candy, stale leaves, and laundry detergent. What he wanted was to create was (I quote) a "good for you chaos" as protestation against the official hypocrisy in the face of continued violence and torture in the world. [seventy] What resulted from the "healthy chaos" was Beuys bloodied olfactory organ and its famous press photo, which came to be viewed equally iconic for the ability of art equally player in the cycle of violence and redemption.

Wolf Vostell, Black Room, 1958-63; Wolf Vostell, Auschwitz Floodlight 568, 1958.

Wolf Vostell was also among the earliest artists to commemorate the holocaust. In his work the use of discarded and constitute objects addresses the violence he sees every bit inherent in applied science. His assemblage Blackness room is a combination of such objects assault a pedestal in a dark gallery, and lit only by the goggle box screen in the assemblage and the Auschwitz floodlight that nosotros run into on the left screen. [71]

1960s initiated Deutschland's serious confrontation with it's Nazi past, which was finally triggered by the trials in Jerusalem and Frankfurt in 1961 and 1963-65 confronting Nazi crimes related to the Holocaust. The resulting revelations and those nearly the presence of former Nazis as part of the German government contributed considerably to the politization of the West German Youth. [72]

Hans Peter Alvermann, Illustration to a song by Wolf Biermann nigh a prissy and fat father, 1966

Georg Baselitz, Bild für die Väter, 1965

The public discussion of the crimes of the past created a harsh climate of generational strife in which the generation of the parents was aggressively questioned about their role in the Nazi crimes..Hans Peter Alvermann's structure barely needs an explanation, so obvious is the imagery. Sexual imagery has long been used in High german art in particular to denounce the perversions of order. Its juxtaposition with the German flag and the Swastika makes its political content fifty-fifty more pronounced.

Among the most prominent artists to address this hard subject, starting in the belatedly 60s, were Georg Baselitz, Markus Luepertz, Gerhard Richter and Anselm Kiefer, all adopting a new realist and figurative idiom. Apart from Kiefer, nigh of those artists had come up from Due east Frg, where they were trained under the imposition of Socialist Realism.

The title of Georg Baselitz'south "Bild für die Vaeter" (painting for the fathers) 1965, clearly denounces those he views as responsible for the state of war. The decomposing bodily mass speaks of concrete besides every bit moral violence in its use of figuration in an well-nigh abstract aggressive application of paint.  While his piece of work shows the effect of the paintings by de Kooning, Pollock, Rothko and Guston that Baselitz had seen at an exhibition of New American painting in 1958, information technology purposefully straddles the demarcation between abstraction and figuration. [73]

Baselitz was born Georg Kern just earlier WWII in what would go East Germany. In 1957 he fled to Due west Berlin, where he changed his proper noun to Baselitz, based on Deutschbaselitz his hometown in East Frg. In the West he discovered the works of the German Expressionists, which he reflects stylistically but not in spirit. Instead of the Brücke artists' utopian Weltanschauung, Baselitz focused instead on expressions of alienation. [74]

Baselitz, Adler (Eagle), 1972; Gerhard Richter, Adler (Eagle), 1972

With their paintings "Hawkeye" both Baselitz (on the left) and Gerhard Richter (right) took a motif that was tied to feelings of German nationalism since the 19th century. Baselitz, past painting the motif upside down, a habit he had adopted in 1969, neutralizes its symbolic content, like to the technique of breach that Brecht employed in the theater. [75] Richter accomplished a similar distancing through the blurred outcome of his paintings.

Gerhard Richter, Onkel Rudi, 1965; Gerhard Richter, Herr Heyde, 1965 (quondam SS doctor after his arrest.)

Much of Richter'south work was copied from one-time photographs, frequently of his family. He literally throws a fog over those memory images, addressing his resistance to memorizing the past. This picture of his uncle Rudi who died in the state of war in 1944, raises the heavy questions that were very much on young Germans' minds at the fourth dimension: to what degree did my parents collaborate in the Nazi crimes?

Like Baselitz, Richter besides was born in East Germany and had trained there as a Socialist Realist landscape painter at the Dresden University of Art. In 1961 just before the erection of the wall, he fled to the West. [76]

Anselm Kiefer, Besetzungen, 1969

Iconic images of the German Nazi past announced also – and almost insistently – in the fine art of Anselm Kiefer, a student of Joseph Beuys'. In "Besetzungen" in the belatedly 1960s Kiefer had himself photographed executing the Hitler salute in diverse European locations that during the war had been under German occupation. Not always recognized as a satire of the Nazi past, his imagery was oft accused of being proto-fascist. [77] He claimed however, that his reenactments of Nazi imagery was his style of coming to terms with the burden of the past. [78]

Anselm Kiefer, Varus, 1976; Anselm Kiefer, Germany's Spiritual Heroes, 1972

Many of Kiefer's paintings focus on sites of German history and identity, such as this painting called Varus, the name of a Roman full general, who was defeated by Germanic tribes in a historic boxing in 9 Advertizing. Many of his works recall the monumentality of Speer'southward architecture or indeed one of the grandiose sets for one of the many Nazi ceremonies, every bit in this painting, Frg's Spiritual heroes, in which he names Joseph Beuys along with Richard Wagner, whose conventionalities in the redemptive power of art he shared. [79]

Anselm Kiefer, Railway tracks (Lot'southward Wife), 1989; Martin Kippenberger, Ich kann beim besten Willen kein Hakenkreuz erkennen ( I can't for the life of me recognize a swastica), 1984

Essentially what this new realism, and so different from the Socialist realism in the Due east, strove for was to explore the past and why it had taken and then long to be acknowledged. [fourscore]

While the by was an eminent subject for artists in the 60s and 70s, the nowadays and notably the division of Germany appeared much more rarely in the arts.

Baselitz, Der Hirte, 1965; Image of the wall

One of the exceptions is Baselitz' "Der Hirte," (the shepherd) of 1965, in which the artist represents himself literally breaking through a wall. We must remember that this was iv years afterwards the structure of the wall that would physically separate the West from the eastern part of Germany and made the artist's return to his hometown totally incommunicable. [81]

Ii other artists addressed this topic; one from the Westward and ane from East Germany: Joerg Immendorf and A.R. Penck.

Joerg Immendorf, Café Frg, 1977; A.R. Penck, Der Uebergang, The Passage or the Crossing, 1963

Immendorf, perturbed by the lack of dialogue between the two creative person communities, actually travelled to East Berlin to meet A.R. Penck, with whom he founded what they called an exchange and activeness alliance.

His painting "Café Germany" of 1977 is set in a disco and carries references to a multifariousness of issues. Similar the art of Richter, Kiefer, Baselitz and others he includes symbols of national identity: the High german flag, the Royal eagle likewise equally the swastika. But he as well includes elements of the historical present with the presence of 2 border towers between the two Germanys. Berthold Brecht tin be recognized over the bar, and the creative person himself is reaching his hand through a pigsty in the wall. It was Jorg Immendorf who adult the image of the leftist High german creative person. Still he belonged to a sect of Maoists who considered the Soviet Spousal relationship worse than the capitalist West, and in the mid 70s left the movement. [82]

A.R. Penck, in "Der Uebergang", The Passage or the Crossing of 1963 too refers to the roughshod and divisive reality of the Berlin wall.

Christian Boltanski, MissingHouse, 1990

Peradventure the most moving artworks to memorize the war and the holocaust is this work, Missing House of 1990 by the French artist Christian Boltansky. The missing house, which stood in Berlin's Jewish quarter most the New Synagogue, was destroyed on the night of February iii, 1945. Simple white signs on the opposing house walls display the names of its former inhabitants. The mostly foreign names and the dates 1943, 44, 45 add to the unsaid violence of the work.

Photo of the autumn of the wall, 1989

This photograph of the fall of the Berlin wall, really illustrates the cease of the postwar period. With the autumn of the Soviet Union, bug such as the battle between Socialist Realism and abstraction were no longer relevant.

In decision, we saw that British post-war art really lacked any significant political component before the 1970s, other than an overall reaction of anxiety born from the experience of state of war and the fear of nuclear annihilation. The French, and to a lesser degree the Italian art scenes were dominated by the realism versus abstraction contend forth the left right political divide, while E Deutschland did not allow any political or even creative debate under the strict imposition of Socialist Realism. Information technology was actually in West Germany that yous had the most interesting political art, which grew out of its specific postwar situation and a retention process, which is still ongoing while most of the other debates take lost their relevance.

References:

On the political background of the era:

Thomas Crow, The rise of the sixties: American and European fine art in the era of dissent. New York: Harry North. Abrams, 1996.

Nancy Jachek, Politics and painting at the Venice Biennale, 1948-64. Manchester, New York: Manchester University Press, 2007.

Tony Judt, Postwar: A History of Europe Since 1945. New York: The Penguin Press, 2005.

On British art during the period:

David Due east. Brauer, Pop art: U.S. / U.K. connections, 1956-1966. Houston, Tx: Menil Collection in clan with Hatje Cantz, 2001.

Mona Hadler, "Sculpture in Postwar Europe and America, 1945-59," Art Journal 53, no. 4 (Winter 1994): 17.

James Hyman, The Boxing for Realism, Figurative Art in United kingdom of great britain and northern ireland during the Cold State of war, 1945-1960. New Haven, London: Yale University Printing, 2001.

"Staying Socialist: Attacks on Social realism," in James Hyman, The Battle for Realism, Figurative Art in United kingdom during the Common cold War, 1945-1960 (2001), p. 173-189.

David Mellor, "Existentialism and Postal service-War British Art," Paris Mail-State of war, p. 53-61.

David Alan Mellor and Laurent Gervereau, The Sixties in United kingdom and France, 1962-1973; the utopian years. London: Philip Wilson, 1997.

Menil Collection, Houston Pop Art. U.Due south./U.k.

Henry Meyric Hughes and Gijs van Tuy, Blast to Freeze: British art in the 20th Century Wolfsburg: Kunstmuseum Wolfsburg. New York: Hatje Cantz, 2002.

On French art in the postwar era:

Backwash: France 1945‑1954; new images of man. London: Barbican Center for Arts and Conferences, 1982.

Dominique Berthet. Le P.C.F., la civilization et l'art. Paris: La Table Ronde, 1990.

Laurence Bertrand Dorléac, Après la guerre. Paris: Gallimard, 2010.

Laurence Bertrand Dorléac. L'Histoire de l'Fine art; Paris 1940‑1944. Ordre national, traditions et modernité. Paris: Presses de la Sorbonne, 1986.

Philippe Buton. La France et les Français de la Libération: 1944‑1945. Paris: Bibliothèque de Documentation Internationale Contemporaine and Musée d'Histoire Contemporaine, 1984.

David Alan Mellor and Laurent Gervereau, eds., The Sixties in Britain and France, 1962-1973, the utopian years. London: Philip Wilson, 1997.

Frances Morris, ed., Paris Postal service-State of war: art and existentialism, 1945-1955. London: Tate Gallery, 1993.

Gertje Utley, "Picasso and the French Mail service-state of war 'Renaissance': A Questioning of National Identity," in Jonathan Brown, ed., Picasso and the Spanish Tradition. New Oasis and London: Yale Academy Press, 1996, 95-118.

———. Picasso: the Communist Years. London & New Haven: Yale Academy Press, 2000.

———. "From Guernica to The Charnel House: The Political Radicalization of the Artist," in Steven A. Nash and Robert Rosenblum, eds., Picasso and the State of war Years 1937-1945. New York: Thames and Hudson, Inc., 1998.

German art during the postwar era:

Stephanie Barron and Sabine Eckmann, eds., Art of ii Germanys: Cold War Cultures. New York, London, Los Angeles: Abrams in clan with the Los Angeles County Museum of Art, 2009.

Stephanie Barron, "Blurred boundaries: the art of 2 Germanys between myth and history," in Barron and Eckmann, eds., 2009.

Chicago, Sick., Negotiating history: German language art and the by. Chicago: Art Institute of Chicago, 2002.

Eckhart Gillen, German art from Beckmann to Richter: images of a divided state. Cologne: DuMont Buchverlag, distributed by Yale University Printing, 1997.

Dieter Honisch, Kunst in der Bundesrepublik Germany, 1945-1985. Berlin: Nationalgalerie, 1985.

Andreas Huyssen, "Trauma, violence, and retentiveness: Figures of memory in the course of time," in Barron and Eckmann, eds., 2009; 225-239.

Barbara McCloskey, "The internationalization of german art. Dialectic at a standstill: Due east High german Socialist Realism in the Stalin era," in Barron and Eckmann, eds., 2009.

Peter Weibel: "Repression and Representation: The RAF in German language Postwar Fine art" in Barron and Eckmann, eds., 2009; 257.

NOTES

[1] Tony Judt, Tony Judt, Postwar: A History of Europe Since 1945. New York: The Penguin Press, 2005, pp. sixteen-23.

[2] Judt, pp. 52-58.

[3] Tony Judt. Past Imperfect: French Intellectuals, 1944‑1956. second ed. Berkeley, Los Angeles, London: 1994, 223. On the history of the Common cold War encounter as well John lewis Gaddis, The Cold War: a new history. André Fontaine. Histoire de la guerre froide (2 vols.). Paris: Fayard, 1965 and 1967.  Annie Kriegel. Ce que j'ai cru comprendre. Paris: Robert Laffont, 1991, p. 368.

[4] Nancy Jachec. Politics and painting at the Venice Biennale, 1948-1964: Italy and the thought of Europe. Manchester, New York: Manchester Academy Press, 2007, p. ?

[5] James Hyman, The Boxing for Realism, Figurative Art in U.k. during the Cold War, 1945-1960. New Haven, London: Yale University Press, 2001; p. 4

[6] Martin Harrison, Transition: the London fine art scene in the 1950s. London: Merrell, 2002; p. 4; Simon Wilson. British Fine art: from Holbein to the present twenty-four hour period. London: The Tate Gallery Publications, 1979, p. 153.

[vii] Henry Meyric Hughes and Gijs van Tuy. Blast to Freeze: British art in the 20th Century. Wolfsburg: Kunstmuseum Wolfsburg. New York: Hatje Cantz, 2002, p. 175.

[8] Hyman, p, 41; Wilson, p. 153.

[9] Henry Meyric Hughes and Gijs van Tuy. Blast to Freeze: British art in the 20th Century. Wolfsburg: Kunstmuseum Wolfsburg. New York: Hatje Cantz, 2002, p.  107.

[10] Hyman, p. iv; Meyric Hughes and van Tuy, p. 117.

[11] Meyric Hughes and van Tuy, p. 107.

[12] Cited in Mona Hadler, "Sculpture in Postwar Europe and America, 1945-59," Fine art Periodical 53, no. 4 (Winter 1994): 17; David Mellor, "Existentialism and Post-State of war British Art," in Frances Morris, Paris Postal service-War: art and existentialism, 1945-1955. London: Tate Gallery, 1993, pp. 53-61.

[13] Harrison, p. fifty.

[14] Mellor, pp. 53-61.

[fifteen] Hadler, p. 17; Mellor, p. 53.

[sixteen] Herbert Read's words are part of his critic of the Venice Biennale of 1952 and are quoted in Mellor, p. 55; Harrison, p. 6, 68.

[17] Mellor, p. 55; Harrison, p. 74.

[eighteen] Joan Marter, "The Ascendency of Abstraction for Public Art: The Monument to the Unknown Political Prisoner Competition," Art Journal 53, no. four (Winter 1994), pp. 28-36.

[19] Hyman, pp. 4, vii,8.

[20] Hyman, pp. 16, 25; and "Staying Socialist: Attacks on Social realism, " in Hyman, pp. 173-189.

[21] Hyman, p. 6; Harrison, p. 74.

[22] Hyman, pp. 179-181.

[23] Wilson, p. 177.

[24] Meyric Hughes and van Tuy, pp. 139.

[25] Meyric Hughes and van Tuy, pp. 139.

[26] David Brauer, ed., Pop Art: U.S./UK. Connections, 1956-1966.  Houston, TX: Menil Collection, 2001, pp. 24, 25.

[27] Harrison, p. 92.

[28] Harrison, p. 92.

[29] Meyric Hughes and van Tuy, pp. 143, 175.

[30] Jachec, pp. eighteen, 24.

[31] Jachec, p. 31

[32] Hyman, p. 77.

[33] Frances Morris, Paris Post-War: art and existentialism, 1945-1955. London: Tate Gallery, 1993, p. 89. On this period see also Laurence Bertrand Dorléac, Après la guerre: Art et artistes. Paris: Gallimard, 2010.

[34] Morris, p. 129.

[35] Verdès-Leroux. Au service du Parti: le parti communiste, les intellectuels et la culture (1944‑1956). Paris: Fayard/Éditions de Minuit, 1983, p. 271.

[36] Roger Garaudy, "Artistes sans Uniforme," Arts de France, no.ix (1946): 17.  Louis Aragon, "L'Art 'zone libre'?" Les Lettres françaises (29 November 1946), pp. 1, 4 : "...je considère que le parti communiste a une esthétique, et que celle-ci s'appelle le réalisme...". Come across too René Guilly, "Faut-il une esthétique au Parti Communiste?" Juin, 10 December 1946.

[37] On Aragon's function in the promotion and afterward in the stop of Socialist Realism come across Pierre Daix. Aragon, une vie à changer. Paris: Éditions du Seuil, 1975, part 2, in detail chapter 1 and three. Encounter also Aragon's epigraph upon Zhdanov'southward expiry "Zhdanov et nous," Les Lettres françaises, nine September 1948,  pp. 1, 5.

[38] Ibid.

[39] The FCP was largely financed past Moscow. According to Annie Kriegel each member of the French party'south leadership operated under a Soviet superior, so that every Soviet disharmonize was reflected in the French Communist political party.

[xl]Claude Roy provoked Thorez with his protestation against the harsh criticism in l'Humanité of a author who had not shown enough enthusiasm for the work of ane of the Socialist Realist party painters.  Picasso who was present remained silent. Claude Roy, Somme toute. Paris: Éditions Gallimard, 1976, pp. 89. Run across besides Laurent Casanova "Responsabilités de l'Intellectuel Communiste." Cahiers du Communisme 26, no. 4 (April 1949), pp. 443‑459.

[41] Louis Aragon, "Réalisme socialiste et réalisme français," La Nouvelle Critique, half dozen May 1949, pp. 27-39. The article too contained Aragon's verse form "My party has returned to me the national colors of France." See for ex. Jean Milhau. "Le Nouveau Ralisme." Arts de France 21‑33 (1948), pp. 33‑46. Taslitzky 1949, 77-83; and Taslitzky, "Jalons sur addicted brulant," five; also Sarah Wilson, Fine art and the Politics of the Left in French republic, ca. 1935‑1955. London: Ph.D. diss. Courtauld Establish, 1993, p. 315.

[42] Aragon 1952, 72.

[43] Jean Bouret, "Comment concilier Picasso et Fougeron, tel est le problème," Franc Tireur, cited in Wilson 1993,  p. 370.

[44] Cited in Daix 1976, 283 "It is at his battlements of Peace Partisan that Picasso painted the pigeon and it is at his battlements of Communist militant that Fougeron painted Le Pays des Mines."

[45] Taslitzky's painting, The Death of Danielle Casanova, was an homage to the wife of Laurent Casanova. She had died in a concentration camp and became 1 of the most sanctified martyrs of Communist lore, frequently compared to Jeanne d'Arc.

[46] See Aragon 1947, and his "Pour united nations réalisme véritable," Les Lettres françaises, no. 490 (12 November 1953), cited in Ristat 1981, 67-72, 131-134.

[47] J.R., "Idées et problèmes d'aujourd'hui," Arts de France, no.34 (January 1951): 75.

[48] Jean Ristat. ed. Aragon: écrits sur l'art moderne. Paris: Flammarion, 1981, p. 72;  "André Fougeron, dans chacun de vos dessins se joue aussi le destin de l'art figuratif, et riez si je vous dis que se joue aussi le destin du monde".

[49] On the contemporary debate see for example: Les Amis de l'Art, "Pour et contre l'fine art abstrait". Paris: Cahiers des Amis de 50'art, no.eleven, 1947; Estienne 1950; Auguste Herbin, L'art non-figuratif, non-subjectif, Paris, 1949; Jean Bouret, "Projet de manifeste pour un art humain," Arts, twenty Dec 1946; Léopold Durand, "La grande querelle de l'fine art abstrait," Les Lettres françaises, i August 1947; Léon Degand, "Défense de l'art abstrait," Les Lettres françaises, 2 August 1947; Hermarque, "Humanisme et Art abstrait," Arts, viii Nov 1946; Jean Loisy, "Propos sur 50'Art abstrait," Arts, two August 1946.

[50] Françoise Gilot and Carlton Lake. Life with Picasso. New York: McGraw‑Colina, 1964, p. 72; Hélène Parmelin. Picasso says, translated by Christine Trollope. Southward Brunswick, N. J.: A.S. Barnes, 1969, p. 104.

[51] Stephanie Barron, "Blurred boundaries: the art of ii Germanys between myth and history," in Stephanie Barron and Sabine Eckmann, eds., Fine art of two Germanys: Common cold War Cultures. New York, London, Los Angeles: Abrams in association with the Los Angeles Canton Museum of Fine art, 2009, p. 12.

[52] Andreas Huyssen, "Trauma, violence, and retentiveness: Figures of memory in the course of time," in Barron and Eckmann, eds., 2009, p. 228.

[53] Peter Weibel: "Repression and Representation: The RAF in German language Postwar Art" in Barron and Eckmann, eds., 2009, p. 257.

[54] Huyssen, in Barron and Eckmann, eds., 2009, p. 226.

[55] Cornelia Homburg, "German language Art: Why At present?" in Cornelia Homburg, ed. German Art Now. St. Louis, London, New York: St. Louis Fine art Museum and Merrell, 203, pp. 13, 14.

[56] Barron in Barron and Eckmann, p. xv.

[57] Barron, in Barron and Eckmann, pp. 15, 136.

[58] Barron in Barron and Eckmann, p. 39; Huyssen in Barron and Eckmann, p. 229

[59] Huyssen in Barron and Eckmann, p. 229.

[60] Barbara McCloskey, "Dialectic at a Standstill: East German Socialist Realism in the Stalin Era," in Barron and Eckmann, p. 105.

[61] Barron in Barron and Eckmann, p. 16, 17; McCloskey in Barron and Eckmann, p. 105.

[62] Ursula Peters and Roland Prügel, "The Legacy of Critical Realism in Due east and Due west," in Barron and Eckmann, p. 68.

[63] McCloskey in Barron and Eckmann, p. 113.

[64] Idem, p. 110.

[65] Idem, p. 110.

[66] Barron in Barron and Eckmann, p. eighteen, Karen Lang, "Expressionism and the Two Germanys," in Barron and Eckmann, p. 90.

[67] Barron in Barron and Eckmann, p. 19.

[68] Richard Langston, The Art of Barbarism and Suffering,"in Barron and Eckmann, p. 241, 254.

[69] Idem, p. 242.

[lxx] Idem, p. 241, 242.

[71] Idem, p. 250.

[72] Huyssen in Barron and Eckmann, p. 235.

[73] Lang in Barron and Eckmann, p. 93.

[74] Barron in Barron and Eckmann, p.18; Lang in Barron and Eckmann, p. 93.

[75] Peters and Prügel in Barron and Eckmann, p. 82; Lang in Barron and Eckmann, p. 96.

[76] Peters and Prügel in Barron and Eckmann , p. 78.

[77] Idem, p. fourscore.

[78] Huyssen in Barron and Eckmann, p. 225.

[79] Peters and Prügel in Barron and Eckmann, p. 80; Matthew Bailey, "East and W: Markus Lüpertz and Anselm Kiefer," in Barron and Eckmann, p. 332.

[80] Huyssen in Barron and Eckmann, p. 225.

[81] Eckhart Gillen, "Scenes from the Theater of the Cold War of the Arts," in Barron and Eckmann, pp. 283.

[82] Huyssen in Barron and Eckmann, p. 237; Diedrich Diedrichsen, "The Leftists Creative person: Visual Art and its Politics in Postwar federal republic of germany," in Barron and Eckmann, p. 143.

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