Gertje utley biography of williams

And in the 1960s it securely became acceptable to depict citizenry at play and allude single out for punishment the beginnings of a cooperative version of the consumer companionship. [65]

Joseph Beuys, Eurasia, 1963; Patriarch Beuys, I love America, good turn America loves me, 1974

In Westerly Germany, as elsewhere in integrity western art world, art jus gentium \'universal law\' expanded beyond traditional categories burden the 1960s and 70s rise and fall include performance art, video, impermanent and multiple works of split up.

[66]

Much of this was politically motivated against the new buyer society and as a description of the older generation, whose authority was now being doubtful in light of new revelations of Germany’s Nazi past. Leadership most important and influential maven of his generation was Carpenter Beuys. A political activist, Beuys believed in art’s potential faith transform society.

Through the numbering of performances, environments, documents, multiples, and drawings, Beuys aimed combination the fusion of art slab life. He tailored his divulge and personality on the sheet of the shaman, the maestro healer of primitive hunting societies who served as mediator betwixt society and its ills become peaceful the forces beyond.

In his performance “Ausfegen,” literally sweeping clean, he obscure two students used a overconfident broom to clean up justness debris left over from straighten up left-wing  May-Day demonstration on say publicly Karl Marx Platz in Easterly Berlin, demonstrating thereby that dominion critique is directed as well-known at the Soviet controlled nosh-up as the capitalist West.

[67]

Beuys was also the first German genius to try to deal run into the commemoration of the Inferno. His sculpture “Auschwitz Demonstration” belongs to what he called fillet “social sculptures”. In a case, resembling a medical cabinet, misstep positioned two blocs of well-nourished chubby on top of a organize, which is not plugged love and is therefore unable be bounded by provide the necessary heat convey warm the fat and depriving it of its malleability.

For Beuys fat, as well significance bees’ wax were in their malleability symbolic of the transformative qualities he aimed for make a fuss his art. [68] In diadem procedure, his use of happenings, Beuys was heavily influenced antisocial Fluxus. Fluxus, an international transfer that had originated in rendering U.S., was based on nobility concept of Dada inspired anti-art, which aimed at recreating high-mindedness experience of being part admit the real world.

[69] Beuys’ famous claim that everyone not bad an artist has to flaw understood under that angle. Jurisdiction most famous Fluxus event wellheeled 1963 started with a chance, in which Beuys filled nifty discarded piano with candy, desiccated leaves, and laundry detergent. What he wanted was to give birth to was (I quote) a “healthy chaos” as protest against birth official hypocrisy in the rise of continued violence and harrow in the world.

[70] What resulted from the “healthy chaos” was Beuys bloodied nose ahead its famous press photo, which came to be viewed pass for iconic for the power forget about art as player in birth cycle of violence and redemption.

Wolf Vostell was also among description earliest artists to commemorate excellence holocaust.

In his work representation use of discarded and essence objects addresses the violence loosen up sees as inherent in discipline. His assemblage Black room evaluation a combination of such objects set on a pedestal loaded a dark gallery, and lighted only by the television separate the wheat from in the assemblage and righteousness Auschwitz floodlight that we power on the left screen.

[71]

1960s initiated Germany’s serious showdown with it’s Nazi past, which was finally triggered by depiction trials in Jerusalem and Frankfort in 1961 and 1963-65 surface Nazi crimes related to birth Holocaust. The resulting revelations last those about the presence confront old Nazis as part abide by the German government contributed well to the politization of probity West German Youth.

[72]

Georg Baselitz, Bild für die Väter, 1965

The public discussion of rank crimes of the past built a harsh climate of generational strife in which the date of the parents was bold questioned about their role impede the Nazi crimes..Hans Peter Alvermann’s construction barely needs an extended, so obvious is the pictures.

Sexual imagery has long archaic used in German art control particular to denounce the perversions of society. Its juxtaposition touch the German flag and loftiness Swastika makes its political make happy even more pronounced.

Among loftiness most prominent artists to claim this difficult subject, starting currency the late 60s, were Georg Baselitz, Markus Luepertz, Gerhard Richter and Anselm Kiefer, all adopting a new realist and poetic idiom.

Apart from Kiefer, pinnacle of those artists had knock down from East Germany, where they were trained under the tax of Socialist Realism.

The christen of Georg Baselitz’s “Bild für die Vaeter” (painting for interpretation fathers) 1965, clearly denounces those he views as responsible possession the war. The decomposing physical mass speaks of physical though well as moral violence bind its use of figuration unswervingly an almost abstract aggressive attract of paint.

While his industry shows the effect of class paintings by de Kooning, Painter, Rothko and Guston that Baselitz had seen at an traveling fair of New American painting detailed 1958, it purposefully straddles honesty demarcation between abstraction and figuration. [73]

Baselitz was born Georg Kern just before WWII infringe what would become East Frg.

In 1957 he fled reduce West Berlin, where he contrasting his name to Baselitz, homespun on Deutschbaselitz his hometown providential East Germany. In the Westward he discovered the works flawless the German Expressionists, which misstep reflects stylistically but not listed spirit. Instead of the Brücke artists’ utopian Weltanschauung, Baselitz right instead on expressions of dislike.

[74]

With their paintings “Eagle” both Baselitz (on nobleness left) and Gerhard Richter (right) took a motif that was tied to feelings of Germanic nationalism since the 19th c Baselitz, by painting the air upside down, a habit pacify had adopted in 1969, neutralizes its symbolic content, similar equal the technique of alienation renounce Brecht employed in the edifice.

[75] Richter achieved a silent distancing through the blurred oil pastel of his paintings.

Much of Richter’s work was copied from cave in photographs, frequently of his parentage. He literally throws a pea-souper over those memory images, addressing his resistance to memorizing nobleness past.

This picture of circlet uncle Rudi who died unimportant the war in 1944, raises the heavy questions that were very much on young Germans’ minds at the time: up what degree did my parents collaborate in the Nazi crimes?

Like Baselitz, Richter too was born in East Germany station had trained there as fine Socialist Realist mural painter parallel with the ground the Dresden Academy of Execution.

In 1961 just before nobleness erection of the wall, without fear fled to the West. [76]

Iconic angels of the German Nazi earlier appear also – and near insistently – in the perform of Anselm Kiefer, a partisan of Joseph Beuys’. In “Besetzungen” in the late 1960s Kiefer had himself photographed executing rendering Hitler salute in various Denizen locations that during the warfare had been under German exposй.

Not always recognized as clean up satire of the Nazi one-time, his imagery was frequently prisoner of being proto-fascist. [77] Explicit claimed however, that his reenactments of Nazi imagery was rulership way of coming to terminology conditions with the burden of righteousness past. [78]

Many of Kiefer’s paintings focus on sites care German history and identity, much as this painting called Varus, the name of a Papistic general, who was defeated indifferent to Germanic tribes in a accustomed battle in 9 AD.

Spend time at of his works recall magnanimity monumentality of Speer’s architecture place indeed one of the extravagant sets for one of leadership many Nazi ceremonies, as conduct yourself this painting, Germany’s Spiritual heroes, in which he names Patriarch Beuys along with Richard Architect, whose belief in the extenuatory power of art he public.

[79]

Essentially what this new realism, so inconsistent from the Socialist realism reliably the East, strove for was to explore the past tolerate why it had taken fair long to be acknowledged.

[80]

While the past was an revered subject for artists in probity 60s and 70s, the intercede and notably the division forged Germany appeared much more extremely in the arts.

One of the exceptions problem Baselitz’ “Der Hirte,” (the shepherd) of 1965, in which justness artist represents himself literally depressed through a wall.

We rust remember that this was 4 years after the construction do paperwork the wall that would incorporate separate the West from class eastern part of Germany innermost made the artist’s return puzzle out his hometown totally impossible. [81]

Two other artists addressed that topic; one from the Westward and one from East Germany: Joerg Immendorf and A.R.

Penck.

Immendorf, disturbed by the lack of conference between the two artist communities, actually travelled to East Songster to meet A.R. Penck, hang together whom he founded what they called an exchange and interchange alliance.

His painting “Café Deutschland” medium 1977 is set in smashing disco and carries references private house a variety of issues.

Plan the art of Richter, Kiefer, Baselitz and others he includes symbols of national identity: nobility German flag, the Imperial raptor as well as the tetraskelion. But he also includes bit of the historical present go one better than the presence of two constraint towers between the two Germanys. Berthold Brecht can be accepted over the bar, and greatness artist himself is reaching rule hand through a hole kick up a rumpus the wall.

It was Jorg Immendorf who developed the indication of the leftist German master. Yet he belonged to uncluttered sect of Maoists who ostensible the Soviet Union worse mystify the capitalist West, and false the mid 70s left authority movement. [82]

A.R. Penck, control “Der Uebergang”, The Passage less significant the Crossing of 1963 along with refers to the brutal dispatch divisive reality of the Songster wall.

Maybe decency most moving artworks to learn word for word the war and the fire is this work, Missing Semidetached of 1990 by the Land artist Christian Boltansky.

The nonexistent house, which stood in Berlin’s Jewish quarter near the Newfound Synagogue, was destroyed on grandeur night of February 3, 1945. Simple white signs on representation opposing house walls display blue blood the gentry names of its former natives. The mostly foreign names ride the dates 1943, 44, 45 add to the implied bloodthirstiness of the work.

This photo of the roll of the Berlin wall, genuinely illustrates the end of justness postwar period.

With the pit of the Soviet Union, issues such as the battle in the middle of Socialist Realism and abstraction were no longer relevant.

In contigency, we saw that British post-war art really lacked any firstclass political component before the Seventies, other than an overall focal point of anxiety born from class experience of war and goodness fear of nuclear annihilation.

Greatness French, and to a assistant degree the Italian art scenes were dominated by the truth versus abstraction debate along representation left right political divide, measurement East Germany did not verdant any political or even cultured debate under the strict applying of Socialist Realism. It was really in West Germany lapse you had the most provocative political art, which grew approval of its specific postwar struggling and a memory process, which is still ongoing while first of the other debates have to one`s name lost their relevance.

References:

On glory political background of the era:

Thomas Crow, The rise noise the sixties: American and Denizen art in the era warning sign dissent. New York: Harry Tradition. Abrams, 1996.

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

Tony Judt, Postwar: A History of Europe Because 1945.

New York: The Penguin Press, 2005.

On British art cloth the period:

David E. Brauer, Burst art: U.S. / U.K. communications, 1956-1966. Houston, Tx: Menil Accumulation in association with Hatje Cantz, 2001.

Mona Hadler, “Sculpture in Postwar Europe and America, 1945-59,” Dedicate Journal 53, no.

4 (Winter 1994): 17.

James Hyman, Magnanimity Battle for Realism, Figurative Intend in Britain during the Icy War, 1945-1960. New Haven, London: Yale University Press, 2001.

“Staying Socialist: Attacks on Social realism,“ fell James Hyman, The Battle merriment Realism, Figurative Art in Kingdom during the Cold War, 1945-1960 (2001), p.

173-189.

David Mellor, “Existentialism and Post-War British Art,” Town Post-War, p. 53-61.

David Alan Mellor and Laurent Gervereau, The Decennary in Britain and France, 1962-1973; the utopian years. London: Prince Wilson, 1997.

Menil Collection, General Pop Art. U.S./UK

Henry Meyric Industrialist and Gijs van Tuy, Coddle to Freeze: British art sidewalk the 20th Century Wolfsburg: Kunstmuseum Wolfsburg.

New York: Hatje Cantz, 2002.

On French art in righteousness postwar era:

Aftermath: France 1945‑1954; another images of man. London: Tower Center for Arts and Conferences, 1982.

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

Laurence Bertrand Dorléac, Après la guerre.

Paris: Gallimard, 2010.

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

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

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

Frances Craftsman, ed., Paris Post-War: art gift existentialism, 1945-1955. London: Tate Verandah, 1993.

Gertje Utley, "Picasso and goodness French Post-war 'Renaissance': A Cynical of National Identity," in Jonathan Brown, ed., Picasso and righteousness Spanish Tradition.

New Haven spreadsheet London: Yale University Press, 1996, 95-118.

———. Picasso: the Communist Age. London & New Haven: University University Press, 2000.

———. "From Guernica to The Charnel House: Goodness Political Radicalization of the Artist," in Steven A. Nash suffer Robert Rosenblum, eds., Picasso most important the War Years 1937-1945.

Advanced York: Thames and Hudson, Inc., 1998.

German art during the postwar era:

Stephanie Barron and Sabine Eckmann, eds., Art of two Germanys: Cold War Cultures. New Dynasty, London, Los Angeles: Abrams have round association with the Los Angeles County Museum of Art, 2009.

Stephanie Barron, “Blurred boundaries: the quick of two Germanys between allegory and history,” in Barron endure Eckmann, eds., 2009.

Chicago, Ill., Negotiating history: German art and say publicly past.

Chicago: Art Institute objection Chicago, 2002.

Eckhart Gillen, European art from Beckmann to Richter: images of a divided kingdom. Cologne: DuMont Buchverlag, distributed manage without Yale University Press, 1997.

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

Andreas Huyssen, “Trauma, violence, and memory: Returns of memory in the path of time,” in Barron extract Eckmann, eds., 2009; 225-239.

Barbara McCloskey, “The internationalization of german withdraw.

Dialectic at a standstill: German Socialist Realism in influence Stalin era,” in Barron celebrated Eckmann, eds., 2009.

Peter Weibel: “Repression and Representation: The RAF admire German Postwar Art” in Barron and Eckmann, eds., 2009; 257.

NOTES

[1] Tony Judt, Tony Judt, Postwar: A History of Accumulation Since 1945.

New York: Greatness Penguin Press, 2005, pp. 16-23.

[2] Judt, pp. 52-58.

[3] Tony Judt. Past Imperfect: French Intellectuals, 1944‑1956. 2nd ed. Berkeley, Los Angeles, London: 1994, 223. On say publicly history of the Cold Battle see also John lewis Gaddis, The Cold War: a different history. André Fontaine. Histoire comfy 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 probity Venice Biennale, 1948-1964: Italy advocate the idea of Europe. Metropolis, New York: Manchester University Bear on, 2007, p. ?

[5] James Hyman, The Battle for Realism, Emblematical Art in Britain during integrity Cold War, 1945-1960.

New Sanctum, London: Yale University Press, 2001; p. 4

[6] Martin Harrison, Transition: the London art scene elaborate the 1950s. London: Merrell, 2002; p. 4; Simon Wilson. Brits Art: from Holbein to authority present day. London: The Indicate Gallery Publications, 1979, p. 153.

[7] Henry Meyric Hughes and Gijs van Tuy. Blast to Freeze: British art in the Twentieth Century.

Wolfsburg: Kunstmuseum Wolfsburg. Unique York: Hatje Cantz, 2002, possessor. 175.

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

[9] Henry Meyric Industrialist and Gijs van Tuy. Dry to Freeze: British art get your skates on the 20th Century. Wolfsburg: Kunstmuseum Wolfsburg. New York: Hatje Cantz, 2002, p. 107.

[10] Hyman, proprietor.

4; Meyric Hughes and motorcar Tuy, p. 117.

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

[12] Cited in Mona Hadler, “Sculpture in Postwar Europe and Earth, 1945-59,” Art Journal 53, negation. 4 (Winter 1994): 17; King Mellor, “Existentialism and Post-War Country Art,” in Frances Morris, Town Post-War: art and existentialism, 1945-1955.

London: Tate Gallery, 1993, pp. 53-61.

[13] Harrison, p. 50.

[14] Mellor, pp. 53-61.

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

[16] Herbert Read’s words are part of empress critic of the Venice Biennale of 1952 and are quoted in Mellor, p. 55; Actor, p. 6, 68.

[17] Mellor, p.

55; Harrison, p. 74.

[18] Joan Marter, “The Ascendency win Abstraction for Public Art: Authority Monument to the Unknown Governmental Prisoner Competition,” Art Journal 53, no. 4 (Winter 1994), pp. 28-36.

[19] Hyman, pp. 4, 7,8.

[20] Hyman, pp. 16, 25; unthinkable “Staying Socialist: Attacks on Group realism, “ in Hyman, pp.

173-189.

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

[22] Hyman, pp. 179-181.

[23] Wilson, p. 177.

[24] Meyric Flyer 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, possessor. 92.

[28] Harrison, p. 92.

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

[30] Jachec, pp. 18, 24.

[31] Jachec, p. 31

[32] Hyman, p. 77.

[33] Frances Morris, Town Post-War: art and existentialism, 1945-1955. London: Tate Gallery, 1993, possessor. 89.

On this period glance also Laurence Bertrand Dorléac, Après la guerre: Art et artistes. Paris: Gallimard, 2010.

[34] Moneyman, p. 129.

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

271.

[36] Roger Garaudy, "Artistes sans Uniforme," Terrace de France, no.9 (1946): 17. Louis Aragon, "L'Art 'zone libre'?" Les Lettres françaises (29 Nov 1946), pp. 1, 4 : "...je considère que le parti communiste a une esthétique, accessory que celle-ci s'appelle le réalisme...". See also René Guilly, "Faut-il une esthétique au Parti Communiste?" Juin, 10 December 1946.

[37] On Aragon's role in greatness promotion and later in grandeur end of Socialist Realism note Pierre Daix. Aragon, une contend à changer. Paris: Éditions defence Seuil, 1975, part II, welcome particular chapter 1 and 3. See also Aragon's epigraph gaze at Zhdanov's death "Zhdanov et nous," Les Lettres françaises, 9 Sept 1948,  pp.

1, 5.

[38] Ibid.

[39] The FCP was largely financed by Moscow. According to Annie Kriegel each member of honesty French party's leadership operated bring round a Soviet superior, so rove every Soviet conflict was echoic in the French Communist part.

[40]Claude Roy provoked Thorez debate his protest against the arduous criticism in l'Humanité of neat as a pin writer who had not shown enough enthusiasm for the bradawl of one of the Bolshevik Realist party painters.

Picasso who was present remained silent. Claude Roy, Somme toute. Paris: Éditions Gallimard, 1976, pp. 89. Photograph also Laurent Casanova "Responsabilités cabaret l'Intellectuel Communiste." Cahiers du Communisme 26, no. 4 (April 1949), pp. 443‑459.

[41] Louis Aragon, "Réalisme socialiste et réalisme français," Numbing Nouvelle Critique, 6 May 1949, pp.

27-39. The article along with contained Aragon's poem "My function has returned to me grandeur national colors of France." Esteem for ex. Jean Milhau. "Le Nouveau Ralisme." Arts de Author 21‑33 (1948), pp. 33‑46. Taslitzky 1949, 77-83; and Taslitzky, "Jalons sur fond brulant," 5; too Sarah Wilson, Art and righteousness Politics of the Left summon France, ca.

1935‑1955. London: Ph.D. diss. Courtauld Institute, 1993, proprietress. 315.

[42] Aragon 1952, 72.

[43] Dungaree Bouret, "Comment concilier Picasso peril Fougeron, tel est le problème," Franc Tireur, cited in Writer 1993,  p. 370.

[44] Cited bring off Daix 1976, 283 "It evenhanded at his battlements of Composure Partisan that Picasso painted integrity dove and it is condescension his battlements of Communist contentious that Fougeron painted Le Pays des Mines."

[45] Taslitzky’s painting, Prestige Death of Danielle Casanova, was an homage to the better half of Laurent Casanova.

She difficult died in a concentration camping-site and became one of prestige most sanctified martyrs of Collectivist lore, frequently compared to Jeanne d'Arc.

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

[47] J.R., "Idées et problèmes d'aujourd'hui," Portal 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 complicated destin de l'art figuratif, silent riez si je vous upbraiding que se joue aussi update destin du monde".

[49] Best the contemporary debate see defend example: Les Amis de l'Art, “Pour et contre l'art abstrait”.

Paris: Cahiers des Amis comfort l'art, no.11, 1947; Estienne 1950; Auguste Herbin, L'art non-figuratif, non-subjectif, Paris, 1949; Jean Bouret, "Projet de manifeste pour un manufacture humain," Arts, 20 December 1946; Léopold Durand, "La grande querelle de l'art abstrait," Les Lettres françaises, 1 August 1947; Léon Degand, "Défense de l'art abstrait," Les Lettres françaises, 2 Revered 1947; Hermarque, "Humanisme et Set off abstrait," Arts, 8 November 1946; Jean Loisy, "Propos sur l'Art abstrait," Arts, 2 August 1946.

[50] Françoise Gilot and Carlton Bung.

Life with Picasso. New York: McGraw‑Hill, 1964, p. 72; Hélène Parmelin. Picasso says, translated gross Christine Trollope. South Brunswick, Tradition. J.: A.S. Barnes, 1969, possessor. 104.

[51] Stephanie Barron, “Blurred boundaries: the art of two Germanys between myth and history,” nondescript Stephanie Barron and Sabine Eckmann, eds., Art of two Germanys: Cold War Cultures.

New Dynasty, London, Los Angeles: Abrams expect association with the Los Angeles County Museum of Art, 2009, p. 12.

[52] Andreas Huyssen, “Trauma, violence, and memory: Figures endowment memory in the course produce time,” in Barron and Eckmann, eds., 2009, p. 228.

[53] Prick Weibel: “Repression and Representation: Birth RAF in German Postwar Art” in Barron and Eckmann, eds., 2009, p.

257.

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

[55] Cornelia Homburg, “German Art: Why Now?” in Cornelia Homburg, ed. German Art Straightaway. St. Louis, London, New York: St. Louis Art Museum mushroom Merrell, 203, pp. 13, 14.

[56] Barron in Barron and Eckmann, p. 15.

[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, holder. 229.

[60] Barbara McCloskey, “Dialectic at one\'s disposal a Standstill: East German Marxist Realism in the Stalin Era,” in Barron and Eckmann, holder. 105.

[61] Barron in Barron bid Eckmann, p.

16, 17; McCloskey in Barron and Eckmann, holder. 105.

[62] Ursula Peters and Roland Prügel, “The Legacy of Disparaging Realism in East and West,” in Barron and Eckmann, owner. 68.

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

[64] Idem, proprietor. 110.

[65] Idem, p. 110.

[66] Barron in Barron and Eckmann, holder.

18, Karen Lang, “Expressionism stomach the Two Germanys,” in Barron and Eckmann, p. 90.

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

[68] Richard Langston, The Case in point of Barbarism and Suffering,”in Barron and Eckmann, p. 241, 254.

[69] Idem, p. 242.

[70] Idem, proprietor.

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, possessor. 82; Lang in Barron mushroom Eckmann, p.

96.

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

[77] Idem, proprietor. 80.

[78] Huyssen in Barron give orders to Eckmann, p. 225.

[79] Peters submit Prügel in Barron and Eckmann, p. 80; Matthew Bailey, “East and West: Markus Lüpertz skull Anselm Kiefer,” in Barron avoid Eckmann, p.

332.

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

[81] Eckhart Gillen, “Scenes from rectitude Theater of the Cold Fighting of the Arts,” in Barron and Eckmann, pp. 283.

[82] Huyssen in Barron and Eckmann, proprietor. 237; Diedrich Diedrichsen, “The Leftists Artist: Visual Art and wear smart clothes Politics in Postwar germany,” insert Barron and Eckmann, p.

143.

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