Relevant bibliographies by topics / Anselm Kiefer

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Anselm Kiefer'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Anselm Kiefer"

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Martin, Tim. "Anselm Kiefer." Third Text 11, no. 38 (March 1997): 104–7. http://dx.doi.org/10.1080/09528829708576665.

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Gordon, Peter Eli. "Painting History: Two Recent Books on Anselm Kiefer." German Politics and Society 20, no. 4 (December 1, 2002): 119–26. http://dx.doi.org/10.3167/104503002782385318.

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CALLAN, GUY. "ANSELM KIEFER FUR CHLEBNIKOV." Art Book 13, no. 2 (May 2006): 18. http://dx.doi.org/10.1111/j.1467-8357.2006.00659_3.x.

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Temkin, Ann. ""Nigredo," 1984, by Anselm Kiefer." Philadelphia Museum of Art Bulletin 86, no. 365/366 (1990): 25. http://dx.doi.org/10.2307/3795412.

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Cohn, Danièle. "Anselm Kiefer, un parcours en perspectives." Communications 85, no. 1 (2009): 117–25. http://dx.doi.org/10.3406/comm.2009.2525.

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Peterson, Abby. "Wounds That Never Heal: On Anselm Kiefer and the Moral Innocence of the West German Student Movements and the West German New Left." Cultural Sociology 6, no. 3 (May 2, 2012): 367–85. http://dx.doi.org/10.1177/1749975512445427.

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The West German student movements, the student generation of Anselm Kiefer, were a part of the West German awakening as to their collective guilt for the atrocities committed in the Second World War – the Germans-as-perpetrators debate. They entered this debate with a proclamation of innocence, which Anselm Kiefer did not share. In this article I use the empirical lens of biography and the artistic performances of moral self-incrimination in order to understand the collective moral dilemmas posited by the West German students’ proclamation of innocence, their position to maintain a moral high ground in their struggle. Kiefer provoked the German Left by recovering the horror of the Holocaust that the Germans in the post-war period (the 1968 students included) mostly wanted just to go away. Movement artist scholars not only challenge the wider society with their truth-claims, they challenge the movement itself, extending the cognitive boundaries for what can be acknowledged at a given moment in the movement’s history.
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Minssieux-Chamonard, Marie. "Anselm Kiefer, la fabrique de la mémoire." Revue de la BNF 51, no. 3 (2015): 14. http://dx.doi.org/10.3917/rbnf.051.0014.

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Debecque-Michel, Laurence. "Anselm Kiefer ou l’art face à l’histoire." Ligeia N° 145-148, no. 1 (2016): 15. http://dx.doi.org/10.3917/lige.145.0015.

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Morris, Daniel. "Anselm Kiefer and Art after Auschwitz (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 19, no. 3 (2001): 163–65. http://dx.doi.org/10.1353/sho.2001.0033.

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Sonolet, Daglind. "Reflections on the work of Anselm Kiefer." Cultural Values 3, no. 1 (January 1999): 28–53. http://dx.doi.org/10.1080/14797589909367151.

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Dissertations / Theses on the topic "Anselm Kiefer"

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Fürstenow-Khositashvili, Lily. "Anselm Kiefer – myth versus history." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2012. http://dx.doi.org/10.18452/16637.

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Eine der wichtigsten Aufgaben der Kunst ist es, unser kulturelles Gedächtnis zu aktivieren, zu errinnern was ist vergessen oder absichtlich in die Vergessenheit gezwungen wurde, selbst wenn das alte Wunde bluten lasst und traumatisch erscheint. Jedes Mal ist das Element der Kritik die ausschlaggebende Komponente der künstlerischen Arbeit, sie charakterisiert nicht nur den Künstler, und die Zeit in der er/sie lebt, sondern auch den Zuschauer, genauer: wie weit ist der Künstler bereit zu gehen und wie weit sind die Zuschauer bereit ihm zu folgen, im Rückblick manchmal mehr ersteres als letzteres. In meiner Arbeit analysiere ich die Aspekte von Mythologie, Geschichte und deren sozio-politische Relevanz in den Arbeiten von Anselm Kiefer, der Künstler der mit seinen Werken unsere Wahrnehmung der Geschichte, vor allem der deutschen Geschichte, beeinflust und in Frage gestellt hat.
It is one of the major tasks of art to revive our cultural memory and to sharpen our senses, to remind whatever has been forgotten or is being purposefully given to oblivion and to predict whatever the future might have in store even if it causes old wounds bleed anew. Each time the element of critique, being one of the crucial components of artistic work, characterises not only the artist, the time he/she lives in, but also the spectator: precisely, how far the artist is prepared to go and how much the spectator is prepared to accept, in retrospect more the latter than the former. My work analyses the problems of mythology, history and their socio-political relevance on the examples of works by Anselm Kiefer, the artist whose work is irrevocably related to history, German history in the first place, the artistic means of remembrance as well as the role of mythology in our collective memory.
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Sander, Sarah-Maria. "Les médiations scripturaires d'Anselm Kiefer." Nantes, 2013. http://www.theses.fr/2013NANT3037.

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La présente thèse de doctorat en études germaniques sur l'artiste contemporain Anselm Kiefer expose les querelles des représentations entre l'écriture alphabétique et les figurations matérielles des compositions. En trois grandes parties, l' « écriture » de Kiefer est analysée de manière philologique, traductologique et herméneutique, permettant de comprendre les langages de ses matériaux et de ses créatures. La première partie montre que Kiefer, dédaigné ou mythifié, mystifié pour ses « saluts hithériens », ainsi que ses nombreuses inscriptions de textes, remet en question les traditions de l'écriture alphabétique, remontant le temps jusqu'au « berceau de la civilisation ». Les principaux lieux conflictuels des critiques visités, les citations ne s'avèrent pas être au premier plan des conflits interprétatifs. Au contraire, l'emploi cyclique des matériaux semble témoigner d'une médiation des médiateurs de la connaissance, qui opère selon ses propres lois fluctuantes. La continuité avec laquelle s'enchainent les compositions de Kiefer est éclairée ensuite à travers l'écriture en mouvement de Martin Heidegger. Dans la deuxième partie, des affinités scripturaires sont démontrées à travers la poésie de Paul Celan et de Velimir Chlebnikov. Les parentés maniéristes de Kiefer seront explorées, les aspirations aux écritures hermétiques seront analysées dans la troisième partie avec les femmes de la Révolution. La dogmaticité des discours ainsi que la sacralisation des mots sont mises en échec dans les compositions ; reste l'espace tensionnel entre les modes représentatifs qui incite à la réflexion et mène au royaume de l'imagination, de l' »imaginal » exploré avec Cynthia Fleury.
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Piva, Márcia Helena Girardi. "Anselm Kiefer = paisagem, memória e ruínas nas megalópolis." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283948.

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Orientador: Maria Jose de Azevedo Marcondes
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-16T23:09:11Z (GMT). No. of bitstreams: 1 Piva_MarciaHelenaGirardi_M.pdf: 35482788 bytes, checksum: 0393304bb581c47b50ffd090dd83d342 (MD5) Previous issue date: 2010
Resumo: Esta pesquisa teve por objetivo analisar a série de obras do artista plástico Anselm Kiefer, produzidas a partir da visita ao Brasil no ano de 1987, na qual as vistas aéreas da paisagem urbana de São Paulo tornaram-se elemento propulsor. O registro em fotos, sobre a metrópole brasileira, transformou-se em material para o desenvolvimento de uma nova série de criação que marca mudanças nos temas e nos procedimentos pictóricos dentro do conjunto de sua produção artística. A pesquisa desenvolveu-se através da análise dos registros sobre a obra de Kiefer em arquivos e bibliotecas de Instituições artísticas brasileiras como Museu de Arte Moderna de São Paulo, Fundação Bienal de São Paulo, Pinacoteca do Estado e Instituto Goethe, além da análise de uma obra original da série citada, disponibilizada por uma colecionadora brasileira. O trabalho foi fundamentado através de publicações de autores como Walter Benjamin, Daniel Arasse, Andrea Lauterwein, Andreas Huyssen, Brissac Peixoto, Sérgio Paulo Rouanet, Alberto Tassinari, Márcio Seligmann-Silva, W.J.Mitchell, Mieke Ball, Hans Belting entre outros. Através do material pesquisado, foram desenvolvidas reflexões no âmbito da arte contemporânea, utilizando-se conceitos desenvolvidos pelos teóricos e críticos da arte. Houve a necessidade de retomar a produção do artista desde suas primeiras obras, em que os temas concentravam se na história alemã e na origem do povo germânico. A influência da poesia de Paul Celan reflete uma mudança de temas na produção do artista que passa a explorar a cultura judaica. Estas questões tornaram-se necessárias para a compreensão dos motivos que levaram Kiefer a dedicar-se a uma série de obras sobre a paisagem brasileira. A situação do artista alemão no pós-guerra e a necessidade de mudança na concepção tradicional da representação a partir do Holocausto, a memória e a paisagem em ruínas, são temas transferidos para diversos contextos e passaram a funcionar como metáfora no desenvolvimento de sua produção artística. Assim, no período analisado concluiu-se que há um deslocamento, que parte da problemática gerada pela catástrofe histórica, vivenciada por Kiefer, para a compreensão de vários questionamentos que aludem à paisagem urbana contemporânea. A percepção da transitoriedade é sentida através dos materiais utilizados pelo artista em questão, que guardam as marcas do tempo e abrem um campo complexo de discursos. Relações traçadas através da paisagem de São Paulo partirão do lugar específico da megalópole brasileira, para questões que se colocam em âmbito global
Mestrado
Artes Visuais
Mestre em Artes
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Lauterwein, Andréa. ""Les deux mondes" Paul Celan et Anselm Kiefer." Paris 3, 2003. http://www.theses.fr/2002PA030130.

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Recherche interdisciplinaire sur la crise de la représentation et la circulation des images mémorielles de la Shoah en RFA, ce travail s'organise autour du phénomène de transmission transgénérationnel entre Paul Celan et le peintre Anselm Kiefer. L'analyse critique de la mémoire orale, écrite et imagée, en RFA entre 1945 et 1990 questionne la complexité du silence. L'interprétation des articulations entre la poésie de Celan et l'image non verbale (surréalisme, abstraction, gravure, histoire de l'art) accorde une importance particulière à la résonance phénoménologique entre l'image et le texte. C'est dans la conscience d'une compréhension à distance que la peinture de Kiefer adopte la vision géologique de Celan pour commémorer les victimes de la Shoah. La transformation n'est ni iconique ni littérale. Le peintre interprète et opère une nouvelle condensation du paysage idéographique transmis par le texte de référence : l'idiolecte celanien devient idéogramme kieferien. La poétique de Celan lui fournit le modèle d'un deuil éthique, où les fantasmes durables liés au nazisme sont déconstruits par la connaissance critique de leur construction culturelle. Ceci conduit au contrôle et à la réfection en profondeur de l'héritage culturel allemand en fonction de la Shoah et à l'inscription de la mémoire juive dans l'iconographie mémorielle allemande. La perception même du retrait du sens conduit Celan comme Kiefer à ré-auratiser l'art
This interdisciplinary research on the crisis of representations and the memory images of the Holocaust in Germany is organised around the transgenerational transmission between Paul Celan and Anselm Kiefer. The critical analysis of oral, written and imaged memory in Germany from 1945 to 1990 questions the complexity of silence. The interpretation of the relation between Celan's poetry and the non verbal image (surrealism, abstraction, history of art) focuses on the phenomenological resonance between the image and the text. Kiefer's painting adapts Celan's geological vision to commemorate the victims of the Holocaust, but this transformative adoption is neither iconic nor literal. The painter interprets and operates a new condensation of the ideographic landscape transmitted by the textual reference : the celanien ideolect becomes a kieferian ideogram. Celan's poetics provides him the model of an ethical mourning that permits to deconstruct the perduring phantasmas related to national-socialism by the way of a critique of their cultural construction. The aim of this operation is to control and to renovate the german cultural heritage, according to the Holocaust, and to inscribe the jewish memory into the german iconographic memory. The knowledge of the withdrawal of sense conducts Celan as well as Kiefer to a re-auratisation of art
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Santiago, Lilian. "Pequena história do mal: Anselm Kiefer e Walter Benjamin." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-22022010-113333/.

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A presente pesquisa procura reunir as reflexões pictóricas de Anselm Kiefer no âmbito da tradição intelectual da literatura, do mito, da história e da religião, e que se condensam na categoria da catástrofe de O Drama Barroco Alemão e do Trabalho das Passagens de Walter Benjamin. Procuraremos mostrar o estatuto da metrópole como o lugar do Mal, inscrevendo as produções artísticas de Anselm Kiefer no campo do pensamento trágico da vida, no sentido de viver sem o Bem e sob o amparo do Mal. Kiefer apresenta-se como o pintor cujas produções oscilam entre a Hybris do progresso e o terror da máxima destruição, do silêncio e do automatismo voltados para uma permanente catástrofe. Ao fim, delineia-se uma utopia negativa de uma barbárie positiva em meio ao Mal, que se tornou radical na nossa contemporaneidade.
The present Dissertation attempts to bring together Anselm Kiefers pictorial reflections toward the intellectual tradition sphere that encompasses Literature, Myth, History and Religion, all condensed by the Catastrophe label detached from The Origin of the German Tragic Drama and The Arcades Project both written by Walter Benjamin. The depiction of the Modern Metropolis as an embodiment of Evil is part of Anselm Kiefer artistic poetics. Kiefer depicts himself as the painter whose pictorial masterpieces oscillate between the Progress Hybris and the Terror of the supreme destruction, silence abysses in an ineluctable catastrophe. Towards the end, a negative utopia is outline from a positive barbarism, among the Evil that became radical in our contemporary societies.
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Kline, Scott B. "Anselm Kiefer: Remembering, Repeating, and Working through the Past." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1374927331.

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Bauer, Christian. "Sacrificium Intellectus : das Opfer des Verstandes in der Kunst von Karlheinz Stockhausen, Botho Strauß und Anselm Kiefer /." München ; Paderborn Fink, 2008. http://d-nb.info/986564915/04.

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Salmon, Rachel. "Anselm Kiefer and W. G. Sebald: Intersecting Approaches to German History." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/522928.

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Art History
M.A.
The German artist Anselm Kiefer and German author W. G. Sebald are prominent and innovative figures in their individual fields whose works deal with many of the same themes, such as destruction, memory, and mourning. Their historical retellings are mediated by their own experiences of growing up in postwar Germany and hover between reality and fiction. Kiefer and Sebald are not the only German artist and author to address themes related to World War II and the Holocaust; however, their works share similar approaches to those themes that are not universally utilized by their peers. Despite this, there is no in-depth analysis of the similarities between the artist and author. This paper examines multiple works by Kiefer and Sebald in order to analyze shared approaches that are evident in Kiefer’s artworks and Sebald’s novels. Their works focus heavily on the archive, take advantage of the documentary aspect of photography, and feature the histories and responses of Holocaust survivors. By examining these similarities, insight is gained into a postwar mindset shared by both Kiefer and Sebald.
Temple University--Theses
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Bauer, Christian. "Sacrificium intellectus : das Opfer des Verstandes in der Kunst von Karlheinz Stockhausen, Botho Strauss und Anselm Kiefer /." München ; Paderborn : Fink, 2008. http://d-nb.info/986564915/04.

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Fürstenow-Khositashvili, Lily [Verfasser], Thomas [Akademischer Betreuer] Macho, and Robert [Akademischer Betreuer] Kudielka. "Anselm Kiefer – myth versus history / Lily Fürstenow-Khositashvili. Gutachter: Thomas Macho ; Robert Kudielka." Berlin : Humboldt Universität zu Berlin, Philosophische Fakultät III, 2012. http://d-nb.info/1029294844/34.

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Books on the topic "Anselm Kiefer"

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Kiefer, Anselm. Anselm Kiefer. Berlin: Nationalgalerie, 1991.

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Anselm Kiefer. [Humlebæk]: Louisiana Museum of Modern Art, 2010.

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Arasse, Daniel. Anselm Kiefer. Paris: Ed. du Regard, 2001.

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Arasse, Daniel. Anselm Kiefer. [Paris]: Regard, 2007.

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Chicago, Art Institute of, ed. Anselm Kiefer. Chicago: Art Institute of Chicago, 1987.

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1945-, Kiefer Anselm, and Kunsthalle Würth, eds. Anselm Kiefer. Künzelsau: Swiridoff, 2004.

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Kiefer, Anselm. Anselm Kiefer. Milano: Charta, 1997.

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Paul, Maenz, Vries Gerd de, and Galerie Paul Maenz (Cologne, Germany), eds. Anselm Kiefer. Köln: Galerie P. Maenz, 1986.

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Arasse, Daniel. Anselm Kiefer. München: Schirmer Mosel, 2007.

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Germano, Celant, and Museo Guggenheim Bilbao, eds. Anselm Kiefer. Milan: Skira, 2007.

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Book chapters on the topic "Anselm Kiefer"

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Klingsöhr-Leroy, Cathrin. "IX. Anselm Kiefer." In Buch und Bild - Schrift und Zeichnung, 77–84. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839461235-010.

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Naqvi, Fatima. "Apocalyptic Cosmologies: Christoph Ransmayr and Anselm Kiefer." In The Literary and Cultural Rhetoric of Victimhood, 73–99. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230603479_4.

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Schilling, Erik. "Intermedialität im Dialog: Anselm Kiefer und Paul Celan." In Celan-Referenzen, 253–66. Göttingen: V&R Unipress, 2016. http://dx.doi.org/10.14220/9783737004657.253.

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Lack, Anthony. "The Art of Anselm Kiefer through the Lens of Martin Heidegger on Technology, Art, and Truth." In Martin Heidegger on Technology, Ecology, and the Arts, 23–33. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137487452_3.

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Leahy, Caitríona. "Anselm Kiefer’s Signature: Or—Adapting God." In Adaptation Considered as a Collaborative Art, 239–58. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-25161-1_12.

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"Gespräch mit Anselm Kiefer." In Klaus Michael Grüber – Homo Viator, 335–36. Göttingen: V&R unipress, 2021. http://dx.doi.org/10.14220/9783737013000.335.

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Földényi, László F. "Die Melancholie von Anselm Kiefer." In Sind alle Denker traurig? Wilhelm Fink Verlag, 2015. http://dx.doi.org/10.30965/9783846757246_005.

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Vercellone, Federico. "Anselm Kiefer e le figure dell’immemoriale." In L'archetipo cieco, 23–32. Rosenberg & Sellier, 2021. http://dx.doi.org/10.4000/books.res.7365.

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Pamuk, Orhan. "When Orhan Pamuk Met Anselm Kiefer." In Art Essays, 130–35. University of Iowa Press, 2021. http://dx.doi.org/10.2307/j.ctv20pxzg2.16.

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"Anselm Kiefer: Hoffmann von Fallersleben. Die Etsch (1977)." In Politische Denkbilder, 233–44. Köln: Böhlau Verlag, 2011. http://dx.doi.org/10.7788/boehlau.9783412213916.233.

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Conference papers on the topic "Anselm Kiefer"

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Dias, Sarah. "Contemporary utopias in art and architecture: Searching for spiritual significance in the work of John Pawson and Anselm Kiefer." In The 2nd International Multidisciplinary Congress Phi 2016 – Utopia(S) – Worlds and Frontiers of the Imaginary. CRC Press, 2016. http://dx.doi.org/10.1201/9781315265322-42.

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