Anselm Kiefer and Art after Auschwitz examines the legacy of German-Jewish culture in the aftermath of the Holocaust. Positioning Kiefer as a deeply learned artist who encounters and represents history in painted, rather than written form, Lisa Saltzman contends that his work is unique among post-war German artists in his persistent exploration of the legacy of fascism. Formally, thematically, and philosophically, Kiefer's work probes the aesthetic and ethical dilemma of representing the unrepresentable, the historical catastrophe into whose aftermath the artist was born. Kiefer's work mediates the relationship between a deeply traumatic history that he, as a German born after World War II, and his post-Holocaust spectators cannot fully know, but to which his work bears witness and provides access.
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"After Auschwitz, to write a poem is barbaric." Lire la première page
Couverture | Copyright | Table des matières | Extrait | Index | Quatrième de couverture
"After Auschwitz, to write a poem is barbaric." Lire la première page
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Couverture | Copyright | Table des matières | Extrait | Index | Quatrième de couverture
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Read the book, not the movie
1 juin 2007
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This book is the pale shadow of Saltzman's PhD thesis, a survey of post WW2 German arts culture I consider to be the best thing I've ever read on fascist/post-fascist aesthetics.
Read the PhD thesis. I give it five stars.
The book at least has a few minuscule color repros of Kiefer's megalo canvases.
Saltzman is a thoughtful scholar, a good reporter, and an apparently German-speaking reader of many popular culture references which add real muscle to unusually jargon-free and trenchant art history. If you're sick of the pomoes and their vagulations about pointless art, read Saltzman and the other scholars of fascist aesthetics, or culture studies historians of post-war culture such as Jay Winter, Sites of Memory, Sites of Mourning, to whom Saltzman's important work on Kiefer can be compared.
I can't recommend her more highly and look forward to a long career of scholarly writing by her.
Read the PhD thesis. I give it five stars.
The book at least has a few minuscule color repros of Kiefer's megalo canvases.
Saltzman is a thoughtful scholar, a good reporter, and an apparently German-speaking reader of many popular culture references which add real muscle to unusually jargon-free and trenchant art history. If you're sick of the pomoes and their vagulations about pointless art, read Saltzman and the other scholars of fascist aesthetics, or culture studies historians of post-war culture such as Jay Winter, Sites of Memory, Sites of Mourning, to whom Saltzman's important work on Kiefer can be compared.
I can't recommend her more highly and look forward to a long career of scholarly writing by her.
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