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Journal articles on the topic 'Anselm Kiefer'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

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

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2

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

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3

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

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4

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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5

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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6

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 (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

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7

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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8

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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9

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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10

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

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11

Sauer, Martina. "Faszination und Schrecken." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 2 51, no. 2 (2006): 24–51. http://dx.doi.org/10.28937/1000107602.

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Faszination und Schrecken sind zwei Schlüsselerfahrungen, die sich insbesondere mit dem Frühwerk Anselm Kiefers verbinden lassen. Gerade in Deutschland haben sie eine Virulenz, die überrascht. Wie kommt es, daß gerade hier seine Arbeiten, in denen er sich mit dem Nationalsozialismus auseinandersetzt, so ambivalent aufgenommen werden? Methodische Basis zur Beantwortung dieser Frage bildet die Analyse der Wirkkraft der Bilder. Dabei zeigt sich grundsätzlich, daß der Wahrnehmungsvorgang als Grundlage für eine Entscheidung ausgelegt werden kann. Deutlich wird dies durch den Zusammenhang von Wirkun

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12

ŞAHİN, Derya. "NEO-EXPRESSIONISM AND PHOTOGRAPHY: Anselm Kiefer, Arnulf Rainer." JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 6, no. 22 (2020): 65–75. http://dx.doi.org/10.31623/iksad220602.

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13

Rich, Sarah, Matthew Biro, and Lisa Saltzman. "Anselm Kiefer and the Philosophy of Martin Heidegger." Art Bulletin 82, no. 3 (2000): 595. http://dx.doi.org/10.2307/3051409.

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14

Stables, Wayne. "Anselm Kiefer and the Sign of the Sublime." Seminar: A Journal of Germanic Studies 53, no. 1 (2017): 1–20. http://dx.doi.org/10.3138/seminar.53.1.01.

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15

Bartolozzi, Giovanni, Marcelo Picollo, Veronica Marchiafava, et al. "Anselm Kiefer: a study of his artistic materials." Archaeological and Anthropological Sciences 8, no. 3 (2015): 563–74. http://dx.doi.org/10.1007/s12520-015-0238-3.

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16

Guilbault, Dominique. "Des Exercices de saint Ignace à Anselm Kiefer." Cahiers jungiens de psychanalyse N° 96, no. 3 (1999): 17–21. http://dx.doi.org/10.3917/cjung.096.0017.

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17

Albano, Albert P. "Reflections on Painting, Alchemy, Nazism: Visiting with Anselm Kiefer." Journal of the American Institute for Conservation 37, no. 3 (1998): 348. http://dx.doi.org/10.2307/3179818.

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18

Albano, Albert P. "Reflections on Painting, Alchemy, Nazism: Visiting With Anselm Kiefer." Journal of the American Institute for Conservation 37, no. 3 (1998): 348–61. http://dx.doi.org/10.1179/019713698806082813.

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19

Jamieson, Dale, and John C. Gilmour. "Fire on the Earth: Anselm Kiefer and the Postmodern World." Journal of Aesthetics and Art Criticism 50, no. 2 (1992): 164. http://dx.doi.org/10.2307/430960.

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20

Cohn, Danièle. "Anselm Kiefer, un parcours en perspectives (entretien avec Philippe Mesnard)." Communications 85, no. 2 (2009): 117. http://dx.doi.org/10.3917/commu.085.0117.

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21

Massar Munson, Meredith. "Iconoclasm as Catharsis: Anselm Kiefer and the Seeds of Memory." International Journal of Arts Theory and History 12, no. 2 (2017): 27–39. http://dx.doi.org/10.18848/2326-9952/cgp/v12i02/27-39.

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22

Guță, Adrian. "Ion Bitzan, Anselm Kiefer and the Motif of the Book." Der Donauraum 62, no. 2 (2022): 45–56. http://dx.doi.org/10.7767/dedo.2022.62.2.45.

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23

Leśniak, Andrzej. "Popiół i szarość - pamięć koloru, Jacques Derrida i Anselm Kiefer." Przestrzenie Teorii, no. 6 (September 15, 2007): 31. http://dx.doi.org/10.14746/pt.2006.6.3.

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24

Huyssen, Andreas. "Anselm Kiefer: The Terror of History, the Temptation of Myth." October 48 (1989): 25. http://dx.doi.org/10.2307/778947.

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25

Brown, Bronwen. "Anselm Kiefer2002259Daniel Arasse. Anselm Kiefer. London: Thames and Hudson 2001. 328 pp., ISBN: 0 500 093024 £60.00." Reference Reviews 16, no. 5 (2002): 31–32. http://dx.doi.org/10.1108/rr.2002.16.5.31.259.

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26

Barber, Fionna. "Anselm Kiefer, Douglas Hyde Gallery, Dublin 13 June-18 August 90." Circa, no. 53 (1990): 41. http://dx.doi.org/10.2307/25557560.

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27

전진성. "From Melancholy to Mourning: Historical trauma in the artworks of Anselm Kiefer." Journal of History of Modern Art ll, no. 22 (2007): 63–104. http://dx.doi.org/10.17057/kahoma.2007..22.003.

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28

CALLAN, GUY. "ANSELM KIEFER APERIATUR TERRA BY GRAHAM HOWES, ANTHONY BOND AND NORMAN ROSENTHAL." Art Book 14, no. 3 (2007): 19–20. http://dx.doi.org/10.1111/j.1467-8357.2007.00827_3.x.

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29

Naqvi, Fatima. "The Abandoned Victim: Cosmology and History in Christoph Ransmayr and Anselm Kiefer." German Life and Letters 57, no. 2 (2004): 219–35. http://dx.doi.org/10.1111/j.0016-8777.2004.0281.x.

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30

Rampley, M. "In Search of Cultural History: Anselm Kiefer and the Ambivalence of Modernism." Oxford Art Journal 23, no. 1 (2000): 73–96. http://dx.doi.org/10.1093/oxartj/23.1.73.

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31

Batsaki, Yota. "The Apocalyptic Herbarium." Environmental Humanities 13, no. 2 (2021): 391–413. http://dx.doi.org/10.1215/22011919-9320211.

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Abstract Anselm Kiefer’s monumental Secret of the Ferns (2007) redirects the artist’s apocalyptic sensibility, honed in response to the Holocaust, to the slow violence of extinction. The installation adopts a foundational practice of early modern natural history: the herbarium’s preservation and presentation of dried, pressed plant specimens. It also mobilizes the symbolic associations of ferns, which Kiefer calls “the first plants” but which are reimagined in the gallery space as the last plants in a postapocalyptic future. The framed specimens hang in a massive hall, with two abandoned concr

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32

TÜRKMENOĞLU, Dilek. "ANSELM KIEFER`IN KAHRAMANLIK SEMBOLLERİ SERİSİNİN ROLAND BARTHESİN MİT KAVRAMI ÜZERİNDEN GÖSTERGEBİLİMSEL ANALİZİ." Journal of Academic Social Sciences 55, no. 55 (2017): 14–28. http://dx.doi.org/10.16992/asos.12785.

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33

BOYRAZ, Burak, and Ali CANTÜRK. "Gerhard Richter ve Anselm Kiefer Örnekleminde İkinci Dünya Savaşı Sonrasında Almanya’da Plastik Sanatlar." İnsan ve Toplum Bilimleri Araştırmaları Dergisi 4, no. 2 (2015): 468. http://dx.doi.org/10.15869/itobiad.38778.

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34

GÜLTEKİN, Tuba. "HOLOKOST UN HAFIZALARDA BIRAKTIĞI GERÇEK VE DEĞİŞMECELİ ANLATIMIYLA ANSELM KIEFER ESER ÖRNEKLERİNİN ÇÖZÜMLENMESİ." Journal of International Social Research 12, no. 63 (2019): 488–93. http://dx.doi.org/10.17719/jisr.2019.3246.

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35

Osborne, Dora. "Black Flakes: Archival Remains in the Work of Christoph Ransmayr and Anselm Kiefer." Comparative Critical Studies 8, no. 2-3 (2011): 221–33. http://dx.doi.org/10.3366/ccs.2011.0020.

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36

Biro, Matthew. "Representation and Event: Anselm Kiefer, Joseph Beuys, and the Memory of the Holocaust." Yale Journal of Criticism 16, no. 1 (2003): 113–46. http://dx.doi.org/10.1353/yale.2003.0001.

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37

JAMIESON, DALE. "Gilmour, John C. Fire on The Earth: Anselm Kiefer and The Postmodern World." Journal of Aesthetics and Art Criticism 50, no. 2 (1992): 164. http://dx.doi.org/10.1111/1540_6245.jaac50.2.0164.

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38

Korff-Sausse, Simone. "Anselm Kiefer : Field of the Cloth of Gold (Camp du Drap d’Or)." Le Carnet PSY N° 241, no. 2 (2021): 25. http://dx.doi.org/10.3917/lcp.241.0025.

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39

Hell, Julia. "Briefly Noted: The Twin Towers of Anselm Kiefer and the Trope of Imperial Decline." Germanic Review: Literature, Culture, Theory 84, no. 1 (2009): 84–93. http://dx.doi.org/10.3200/gerr.84.1.84-93.

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40

Сахно, Ирина Михайловна. "TEXT AS PALIMPSEST: ANTHOLOGY OF TRACES AND POETICS OF THE INVISIBLE IN ANSELM KIEFER’S ART." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 3(33) (May 5, 2022): 53–72. http://dx.doi.org/10.23951/2312-7899-2022-3-53-72.

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Исследуется теоретическая проблема палимпсеста как особого типа письма в постмодернистской практике. На примере анализа живописных текстов Ансельма Кифера автор размышляет о характерологических признаках палимпсестного мышления ведущего представителя немецкого неоэкспрессионизма. Техника палимпсеста определяется как совокупность метафор, наложение нескольких фигур и смыслов, переплетение цитат, что формирует особые интертекстуальные подтексты и скрепы. Палимпсест рассматривается как сохранение следов культуры и шум языка, как мерцание смыслов и просвечиваемость исторических контекстов, как вяз

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41

ROOS, B. "Anselm Kiefer and the Art of Allusion: Dialectics of the Early Margarete and Sulamith Paintings." Comparative Literature 58, no. 1 (2006): 24–43. http://dx.doi.org/10.1215/-58-1-24.

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42

Seligmann-Silva, Márcio. "Arte, dor e Kátharsis ou variações sobre a arte de pintar o grito." Alea : Estudos Neolatinos 5, no. 1 (2003): 29–46. http://dx.doi.org/10.1590/s1517-106x2003000100003.

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O autor analisa a relação entre a arte e a representação da dor partindo de uma tese central: a arte desde o romantismo tendeu cada vez mais para a apresentação do "real" enquanto aquilo que escapa ao simbólico. A arte vincula-se cada vez mais a uma apresentação (e não mais à representação) do momento violento constitutivo do ser humano. Na contemporaneidade, o autor detecta três modalidades dessa arte de apresentar a dor: a que parte de uma abordagem ética da memória (como em Anselm Kiefer e Claude Lanzmann), a que radicaliza o olhar estético inaugurado no século XVIII (como em Francis Bacon)

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43

Wischer, Stephen. "Incarnations of Paul Celan’s Todesfuge in the Paintings of Anselm Kiefer and Daniel Libeskind’s Jewish Museum, Berlin." Architectoni.ca 1, no. 2 (2012): 95–105. http://dx.doi.org/10.5618/arch.2012.v1.n2.1.

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44

Stoker, W. "Can Heaven Bear the Weight of History? The 'Spirituality of Concrete' in the Work of Anselm Kiefer." Literature and Theology 24, no. 4 (2010): 397–410. http://dx.doi.org/10.1093/litthe/frq049.

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45

김지예. "The Visual Representation of Holocaust through the ‘postmemory’: Focusing on the Works of Christian Boltanski and Anselm Kiefer." Journal of History of Modern Art ll, no. 29 (2011): 7–41. http://dx.doi.org/10.17057/kahoma.2011..29.001.

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46

Lindner, Silvia, Ana Vitoria, and Laura Alba. "ANSELM KIEFER AT THE GUGGENHEIM MUSEUM BILBAO: TOWARDS A NEW METHODOLOGY FOR THE PREVENTIVE CONSERVATION OF CONTEMPORARY ARTWORKS." Studies in Conservation 49, sup2 (2004): 21–24. http://dx.doi.org/10.1179/sic.2004.49.s2.005.

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47

Gilmour, John C. "Original Representation and Anselm Kiefer's Postmodernism." Journal of Aesthetics and Art Criticism 46, no. 3 (1988): 341. http://dx.doi.org/10.2307/431105.

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48

GILMOUR, JOHN C. "Original Representation and Anselm Kiefer's Postmodernism." Journal of Aesthetics and Art Criticism 46, no. 3 (1988): 341–50. http://dx.doi.org/10.1111/1540_6245.jaac46.3.0341.

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49

Tain, John. "Anselm Kiefer's "Die berühmten Orden der Nacht"." Getty Research Journal 3 (January 2011): 215–21. http://dx.doi.org/10.1086/grj.3.23005400.

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50

Brailovsky, Anna. "The Epic Tableau: Verfremdungseffekte in Anselm Kiefer's Varus." New German Critique, no. 71 (1997): 115. http://dx.doi.org/10.2307/488561.

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