Journal articles: 'Anselm Kiefer'

1

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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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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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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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 (January 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 Wirkung und Reaktion auf Bilder in Abhängigkeit von den kulturellen Voraussetzungen jedes Einzelnen. Die Offenlegung dieses Zusammenhangs, zu der Anselm Kiefer mit seinem Werk provozieren kann, erlaubt es die Macht von Bildern als solche zu erkennen und damit in Frage zu stellen. Daß es zu dieser Offenlegung kommt, veranlasst zudem, dieses Phänomen als ein spezifisches Moment nach der Moderne, der Postmoderne, zu beschreiben. Fascination and horror are two key experiences that are present particularly in the early work of Anselm Kiefer. Particularly in Germany these have prompted surprisingly strong reactions. Why is it, that his work dealing with the National Socialism has been received so ambivalently? The answer to this question, the text attempts, is based on the analysis of the pictures’ conditions of impact, their „Wirkkraft“. It can be shown that the process of perception can be understood as forming the basis of a decision. This becomes apparent in the picture’s effects and people’s varying reactions to them, depending on their cultural background. Disclosing this connection makes recognizable the force of the pictures, thus opening a path to questioning it. Moreover, this disclosure leads to a description of the phenomenon as a specifically post-modern.

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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 (April 20, 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 (September 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 (February 2017): 1–20. http://dx.doi.org/10.3138/seminar.53.1.01.

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15

Bartolozzi, Giovanni, Marcelo Picollo, Veronica Marchiafava, Silvia A. Centeno, Isabelle Duvernois, Francesca Di Girolamo, Francesca Modugno, Jacopo La Nasa, Maria Perla Colombini, and Antonio Rava. "Anselm Kiefer: a study of his artistic materials." Archaeological and Anthropological Sciences 8, no. 3 (April 12, 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 (January 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 (January 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 (October 21, 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 (May 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 (December 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 (August 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 (April 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 (January 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 (November 1, 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 concrete bunkers spewing out coal in the center—an allusion to ferns as the source of fossil fuels. Coal appears again in the enigmatic charcoal inscriptions on the frames that allude to ferns’ rich associations with rituals of magic and transformation. The overall mood is of a temporality at the end of time, a proleptic elegy that anticipates the extinction of even the most common and resilient plants, and the human cultures associated with them. Transmuted from mnemonic device to vehicle of commemoration, Kiefer’s apocalyptic herbarium elicits grief and mourning—but also, perhaps, what Judith Butler has called “the transformative effect of loss.”

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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 (January 1, 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 (June 10, 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 (April 30, 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 (October 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 (March 1, 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 (March 4, 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 (January 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 вязь и игра множественных семантических наслоений и цитат. Палимпсест как процесс архивирования фактов и культурных страт исследуется также в контексте символики видимого и невидимого следа, скрытых знаков, нелинейного времени и пространства. Автор предлагает новый инструментарий исследования. Обращаясь к постмодернистской практике письма, она апеллирует к работам Ю. Кристевой, А. Греймаса, Ж. Женетта, Р. Барта, Д. Фоккемы, М. Фуко, Ж. Дарриды и др., обосновывая тезис о палимпсесте как универсальном, гибридном тексте, в пространстве которого происходит конвергенция множества слоев, имплицитно содержащих видимые или невидимые заимствования, аллюзии и реминисценции. Художник выступает сигнификатором, маркируя события и факты с помощью знаков и символов, обнаруживая тем самым связь между текстом и подтекстом. Формулируется и основная исследовательская задача – найти дискрипции на уровне глубинных страт текста и продемонстрировать технологию продуцирования новых смыслов. В центре внимания автора – искусство Ансельма Кифера, который увлекает зрителя в паутину и лабиринты скрытых знаков и символов, в игру по поиску следов и контаминации двух и более семантических слоев. Объектом анализа стали две живописные работы: Varus (1976), в которой художник на уровне художественных контекстов работает с символами исторической памяти и паттернами немецкой мифологии, и Margarete (1981) — мощное художественное высказывание на тему Холокоста. Эта картина, написанная под сильным влиянием стихотворения румынского немецкоязычного поэта, еврея по национальности, Пауля Целана «Фуга смерти» (Todesfuge), посвящена теме геноцида евреев в концентрационных лагерях. Визуальные тропы художника выявляют следы травматической памяти, проявленной в двухуровневой структуре картины: нижний слой (участки черной краски вдоль нижней части холста символизируют пепел волос сожженных евреев в Освенциме) и верхний – сгорающая солома – объединены идеей освобождения и духовного очищения. The article examines the theoretical issue of the palimpsest by looking at the art of the German neo-Expressionist painter Anselm Kiefer. In the context of semiotics and cultural semantics, the palimpsest is a new text written over the erased previous version, with the old meaning shining through the new. In an attempt to provide a semantic description of the palimpsest, the author finds crucial tools for its study in the notions of the stratification and intensity of the palimpsest as a multi-layered hybrid text, in which the logical structure of the text forms the basis for convergence of various microtextures and authorial utterances. Palimpsest texts have a certain narrativity of their own: it turns the reader or viewer towards finding textual references and quotes, searching for traces of the invisible and accounting for other existing discourses – thus revealing links between text and subtext, the visible and the invisible, form and content. The textual space of the palimpsest moves along a certain trajectory and features a certain kind of anaphora, as a combination of semantic constructs which differ in their level and structure. The author sees the palimpsest both as a research method which harks back to hermeneutics and to interpreting traces of past culture. At the same time, the palimpsest remains an artistic device. The narrative logic mandates removing layers of superimposed texts, one by one in a fixed order. The article focuses on studying such tropes as “trace”, “labyrinth”, or intertext. In the study of visuality in the palimpsest texts by Anselm Kiefer, the author emphasizes the morphology of artistic texts and shows how the verbal context can be interpreted on various structural levels, and how allusions and reminiscences can be discovered in the depths of the text, and the topoi of cultural memory can be marked. In the analysis of Anselm Kiefer’s Varus (1976) and Margarete (1981), the author concludes that, throughout the many decades of his work, Kiefer polemically assaults the nationalist rhetoric. He deals with important historical events and topoi of the traditional German mythology, trying to find true examples of heroic past and reconstruct the historical truth. Textual layers, seen as multiple borrowings, allusions and reminiscences, open the door into a new space of visual optics and interpretation zones. The mythologem of the palimpsest is closely linked to the narrative and its features, where textual references and direct quotes reveal new connections, which previously remained invisible.

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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 (January 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 (July 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) e a que leva às últimas conseqüências a noção de arte abjeta (como em Andres Serrano). O autor destaca ainda a importância dos conceitos de sublime e de escritura (indexical) do corpo para se compreender essa nova modalidade da arte da dor, bem como a sua relação estrutural com a fotografia.

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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 (June 7, 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 (November 26, 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 (June 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 (September 1, 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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GILMOUR, JOHN C. "Original Representation and Anselm Kiefer's Postmodernism." Journal of Aesthetics and Art Criticism 46, no. 3 (March 1, 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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Journal articles on the topic 'Anselm Kiefer'

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