Relevant bibliographies by topics / Berlin Wall (Berlin, Germany : 1961-1989) in art

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Academic literature on the topic 'Berlin Wall (Berlin, Germany : 1961-1989) in art'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Berlin Wall (Berlin, Germany : 1961-1989) in art"

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TONYALI, Zeynep. "Sanat Bağlamında Berlin Duvarı’nın İzleri." International Journal of Social Sciences 8, no. 34 (2024): 458–73. http://dx.doi.org/10.52096/usbd.8.34.26.

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Germany was the place where the cold war between the United States and the Soviet Union took place, planning to establish an ideological domination over the world. After the end of the Second World War, although the city of Berlin remained within the borders of East Germany, as per an agreement between the Soviets and the Western bloc countries. divided. In order to prevent their escape to East and West Germany, the German administration began to build a wall around East Berlin on August 13, 1961, closing all passages to the western part, telling its citizens that they had a freer and more pro
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Guerin, Ayasha. "Matter and Memory." Meridians 22, no. 1 (2023): 115–45. http://dx.doi.org/10.1215/15366936-10220513.

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Abstract This three-part essay first introduces Berlin’s anticolonial, Black feminist poetics through the work of May Ayim and Audre Lorde, whose poems “Blues in Black-and-White” and “East Berlin 1989” were written shortly after the fall of the Berlin Wall in response to racial attacks in a “reunited” Germany. Part I explores how these poetics and politics have influenced ongoing efforts to engage with the memory of German colonialism, xenophobia, and memorialization in public spaces. Part II moves the reader into close studies of two contemporary performance works by Afro-diasporic artists in
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Muranyi, Kata. "Migration and Urban Culture in East Germany. Representing Localities in Birgit Weyhe’s Graphic Novel Madgermanes." Street Art & Urban Creativity 10, no. 3 (2024): 30–45. https://doi.org/10.25765/sauc.v10i3.984.

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The representation of the aesthetic and political dimensions of the city in the case of comics as a medium touches on a range of issues, from the relationship between comics and street art as well as the representation of urban space and popular culture as identity-shaping factors. Birgit Weyhe’s graphic novel Madgermanes (2016) shows us a specific historical context: after the construction of the Berlin Wall in 1961, a labor force was also needed in East Berlin, as a result of which the leadership invited cheap manpower from communist-oriented countries such as Vietnam, Cuba, Angola, or Mozam
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Arandjelovic, Biljana, and Kaja Pogacar. "Berlin between past, present and future." Facta universitatis - series: Architecture and Civil Engineering 7, no. 2 (2009): 161–69. http://dx.doi.org/10.2298/fuace0902161a.

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Berlin is one of the most interesting European cities. In the Cold War period, The Berlin Wall physically divided West Berlin and East Berlin for 28 years in period from August 1961 till November 1989. Berlin was also the symbolic boundary between West countries and Communism during the Cold War, which influenced also the architectural development in the city. The city was the biggest building site in Europe in the period of 1990s. Today, Berlin is an important art center with around 1500 cultural events daily. Berlin is also since 2005 the only European UNESCO city of design.
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Zitzlsperger, Ulrike. "Berlin: Narratives of metropolitan transition and national unity." Journal of Urban Cultural Studies 8, no. 2 (2021): 187–205. http://dx.doi.org/10.1386/jucs_00041_1.

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The fall of the Berlin Wall in 1989 and the reunification of Germany in 1990 profoundly changed the role of Berlin. The move of the capital from Bonn to Berlin was to take nearly a decade. In the process, the complex national agenda of reunification was projected onto a city rich in meaningful landmarks and cultural developments. In the 1990s, carefully orchestrated building and marketing strategies focused on urban revival at select locations, including the new government quarter and Potsdamer Platz. Today, however, 1990s Berlin is remembered for the contemporary countercultures that serve to
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Haspel, Jörg. "“Eso Parece Español”. El Patrimonio Conflictivo Compartido de las Dictaduras." erph_ Revista electrónica de Patrimonio Histórico, no. 34 (July 31, 2024): 1–25. http://dx.doi.org/10.30827/erph.34.2024.31371.

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The following article is a local case study that examines the shared heritage of German and Spanish fascism in Berlin and its critical artistic reappraisal using the example of historical sites and monuments of art and architecture of the 20th century. The text is based on the experiences and controversial discussions of the heritage conservation andrestoration in the German capital after the opening of the Berlin Wall (1989/90) and the fall of the Iron Curtain in Europe (1989/1991). Characteristic differences in the reception of history and heritage between the western sectors of Berlin and E
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Schmidt, Leo. "The Architecture and Message of the "Wall," 1961-1989." German Politics and Society 29, no. 2 (2011): 57–77. http://dx.doi.org/10.3167/gps.2011.290205.

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The Berlin Wall was built three times: in 1961, in the mid 1960s, and again from the mid 1970s onwards. This article attempts to interpret each manifestation as political architecture providing insights into the mindset and intentions of those who built it. Each phase of the Wall had a different rationale, beyond the straightforward purpose of stopping the citizens of East Germany from leaving their own country and forcing them to suffer under communist rule. The deliberately brutal-looking first Wall was a propaganda construct not originally intended to exist for more than a few months. The f
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Richardson-Little, Ned, Samuel Merrill, and Leah Arlaud. "Far-right anniversary politics and social media: The Alternative for Germany’s contestation of the East German past on Twitter." Memory Studies 15, no. 6 (2022): 1360–77. http://dx.doi.org/10.1177/17506980221133518.

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This article examines how the German radical-right populist party the Alternative for Germany ( Alternative für Deutschland) and its politicians have engaged with the public memory of the East German past via Twitter and how this has impacted the use of social media as a tool of political commemoration in Germany. The article analyses the mnemonic wars over ‘anniversary tweets’ related to four events: the East German Uprising (1953); the construction (1961) and fall (1989) of the Berlin Wall; and German reunification (1990). The article surveys when and how Twitter became a platform for these
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Cocor, Ștefania-Teodora. "Negotiating with a declining power: The American – Soviet Diplomacy in the context of German reunification." Euro-Atlantic Studies 7, no. 2024 (2025): 67–110. https://doi.org/10.31178/eas.2024.7.3.

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The unexpected opening of the Berlin Wall on the evening of November 9, 1989, was a turning point in history, bringing the division of the Cold War to an end. Although the crumbling of the communist bloc seemed almost inevitable in the autumn of 1989, the reunification of Germany was still an outlying goal. But taking advantage of the opportunity that the wall's fall brought, the leaders of that time tried to accelerate history and bring German reunification to a fait accompli. The United States influenced the unification process through its effort to overcome the Allies’ suspicion of a reunit
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Çelik Rappas, İpek A. "The “Guest” Who Refuses to Work, the “Terrorist” Who Contemplates Global Hunger: Minorities in Fatih Akin Films." Central European History 53, no. 2 (2020): 453–58. http://dx.doi.org/10.1017/s0008938920000199.

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In her book that explores Turkish migrant organizations in Germany, sociologist Gökçe Yurdakul detects a historical transformation in the political representation of migrants and minorities from the 1970s through the 2000s. She marks six historical events that lead to this transformation: labor migration (1961–1972), the introduction of family reunification law (1973–1979), post-1980 military coup asylum seekers from Turkey (1980–1988), the fall of the Berlin Wall and its aftermath of exacerbating xenophobia against non-German minorities (1989–1998), the introduction of the new citizenship law
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Dissertations / Theses on the topic "Berlin Wall (Berlin, Germany : 1961-1989) in art"

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Brooke, Magdalene A. "Mauerkunst, lebenskunst: an anlysis of the art on the Berlin Wall." Scripps College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,8.

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The art on the Berlin Wall has been looked at often for its social and political meaning. Instead, I intend to look at the artwork and text which appeared on the Berlin Wall as art. In this paper I will discuss the formal aspects of the art on the Berlin Wall as well as its import as an example of public art and as a forum created through visual representation.
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Lagos, Preller Teobaldo. "Entre-espacios: Apropiaciones del espacio público de Berlín en proyectos de artistas desde América Latina tras la Caída del Muro de Berlín hasta el desmontaje del Palast der Republik (1989-2009)." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/671475.

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La presente tesis doctoral se ocupa de revisar y analizar de forma ensayística y por hitos históricos desde los estudios culturales, postcoloniales y la historia del arte casos de proyectos de artistas latinoamericanos en el Berlín post-Caída del Muro y hasta el desmontaje del Palast der Republik, identificando a ambos hitos como cruciales en una etapa de transformación de la ciudad tras el fin de la Guerra Fría. El abordaje se inscribe en el giro espacial – tanto epistemológico como de prácticas artísticas – y entendiendo a las prácticas desde el arte como sociales y por ende generadoras y tr
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Barbe, Diane. "Berlin(s) à l'écran de 1961 à 1989. Essai de topographie cinématographie cinématographique : la représentation de Berlin divisé dans les cinémas est- et ouest-allemands." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA162.

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Berlin, de 1961 à 1989, est une ville divisée, partagée par un mur de béton séparant l'Est, capitale de la République démocratique allemande, de l'Ouest, îlot isolé de la République fédérale d'Allemagne. Front de la Guerre froide, les caméras s'en sont emparées. Filmer Berlin, ce n’était pas seulement montrer un territoire urbain précis et délimité, c'était porter à l’écran un espace régi par un contexte historique, social et politique extrêmement prégnant traduisant de fortes spécificités. Deux systèmes de représentation de l’espace urbain ont coexisté dès 1945 nourris d’éléments propres à ch
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Scarry, James M. "The Berlin crises of 1958 and 1961 Eisenhower, Kennedy and American cold war foreign policy /." 1998. http://catalog.hathitrust.org/api/volumes/oclc/46886874.html.

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Thesis (Ph. D.)--Miami University, Dept. of History, 1998.<br>eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 353-373).
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"Die betekenis van die oprigting van die Berlynse muur (1961) in die konteks van die Koue Oorlog." Thesis, 2014. http://hdl.handle.net/10210/12637.

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Duffield, Lee Richard. "Graffiti on the wall : : reading history through news media : the role of news media in historical crises, in the case of the collapse of the Eastern bloc in Europe 1989 /." 2002. http://eprints.jcu.edu.au/11.

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Books on the topic "Berlin Wall (Berlin, Germany : 1961-1989) in art"

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Reininghaus, Moritz. Die Berliner Mauer in der Welt. Berlin Story Verlag, 2021.

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Rice, Leland. Up against it: Photographs of the Berlin Wall. University of New Mexico Press, 1991.

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Kuzdas, Heinz J. Berliner MauerKunst =: Berlin wall art. 4th ed. Elefanten Press, 1990.

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Mauer, Stiftung Berliner, ed. Die Berliner Mauer in der Kunst: Bildende Kunst, Literatur und Film. Ch. Links Verlag, 2011.

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Kurt, Ausfelder, ed. Kunst oder Chaos? =: Art or chaos? Verlag Das Beispiel, 1990.

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Proske, Christine. Die Mauer: Chronik eines Aufbruchs. 3rd ed. W. Heyne, 1999.

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Kaminsky, Annette, Ronny Heidenreich, and Tina Schaller. Where in the world is the Berlin Wall? Berlin Story Verlag, 2014.

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1930-1998, Saura Antonio, ed. Die Mauer. Hatje Cantz, 2012.

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Bibliothèque de documentation internationale contemporaine (France). Musée d'histoire contemporaine, ed. Berlin: L'effacement des traces. Fage, 2009.

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Wolfgang, Kil, and AKG-Images (Firm), eds. Eine Mauer verschwindet: A wall vanishes. Ex pose, 2009.

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Book chapters on the topic "Berlin Wall (Berlin, Germany : 1961-1989) in art"

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Eisman, April A. "CHAPTER 6 Painting the Berlin Wall in Leipzig: The Politics of Art in 1960s East Germany." In Berlin Divided City, 1945-1989. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781845456573-009.

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Pohl, Katharina. "Fatherhood In East And West Germany: Results Of The German Family And Fertility Survey." In Fertility and the Male Life-Cycle in the Era of Fertility Decline. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198294443.003.0011.

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Abstract This paper focuses on the aftermath of an event that captured the world’s attention for several months, beginning in November 1989. The Berlin Wall, built in August 1961, was suddenly opened for the first time in 28 years, and thousands of East Germans made ready, almost overnight, to leave their country and enter West Germany. Such an east-west exodus, of course, never actually came to pass, but what did occur were profound political, economic, and social changes, from the highest level of society down to the smallest demographic unit: changes that are continuing to unfold in the tra
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Merritt, Anna J., and Richard L. Merritt. "Berlin’s Jews after Unification Challenges to Community." In Antisemitism And Xenophobia In Germany After Unification. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195104851.003.0011.

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Abstract “Something there is,” Robert Frost told us, “that doesn’t love a wall.” Westerners were quick to cite this image when in August 1961 East Germans built walls that split their country and its capital city, Berlin, between East and West. It was cited again almost three decades later when the socialist German Democratic Republic (GDR) broke these walls open. The image was apt. However, to the surprise of many Germans and non-Germans alike, the removal of cinder blocks and barbed wire did not lead back immediately and easily to a prewall existence. Indeed, the end of the Berlin Wall exace
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"“White Brothers with No Soul”." In Feenin. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027294-007.

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The localization qua making white—a reracination rather than a deracination—of techno in Berlin and many other places in Europe consisted of numerous active processes, rather than a sleight of hand, in the early 1990s, and it went hand in hand with the extreme violence Black and other nonwhite communities experienced after the fall of the Berlin Wall in 1989 and German reunification a year later. These public forms of violence against Black and other nonwhite people in the years around reunification are now vigorously expunged from the celebratory historiographies of techno in Berlin and the f
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Weil, Frederick D. "Ethnic Intolerance, Extremism, and Democratic Attitudes in Germany since Unification." In Antisemitism And Xenophobia In Germany After Unification. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195104851.003.0005.

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Abstract As often happens, press and scholarly accounts diverge in describing developments in Germany since reunification. The press and media tend to focus on signs of popular discontent with democracy, political extremism, xenophobia, and antisemitism, especially in eastern Germany. Scholars present a more varied view. Although they find plenty of indications of discontent with the economic burdens of reunification, little evidence has emerged that Germans have veered sharply toward antidemocratic, extremist, or bigoted attitudes. On the contrary, West German attitudes on these fundamental i
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Frühauf, Tina. "Toward a New Communal Future." In Transcending Dystopia. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197532973.003.0026.

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The changing musical practices of the Jewish community in West Berlin are traced through the later 1980s, only to look again at Berlin at large and its two communities side-by-side. In spite of ideological differences, the East and West Berlin communities came closer, and generally music and culture mirrored the political rapprochement. In the final years of Divided Germany, a Jewish-music festival culture emerged on either side of the curtain, which reveals commonalities and differences between the Berlin communities. If the image of the Iron Curtain suggests a strict East–West separation, th
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Rodden, John G. "After the Wall: Pride before the Fall, 1961–89." In Repainting the Little Red Schoolhouse. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195112443.003.0011.

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East Berlin. August 13, 1961. As the sun peeks over the horizon on this beautiful Sunday morning, most East Berliners sleep on, but some rise for work; a few thousand of them are Grenzgänger, who cross town—quite legally—to work in the “other” Berlin, mostly as hotel and restaurant employees and in other service jobs made lucrative by the uneven exchange rate. Each day they make the trip to West Berlin—by foot, by bicycle, by S-Bahn and U-Bahn, showing their DDR identity cards and special work permits to the bored Grepos (Grenzpolizei, border police) stationed at the gates. But this morning th
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Freeland, Jane. "The Possibilities of Feminism After Reunification." In Feminist Transformations and Domestic Violence Activism in Divided Berlin, 1968-2002. British Academy, 2022. http://dx.doi.org/10.5871/bacad/9780197267110.003.0007.

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This chapter examines feminist activism across Berlin from 1989 to 2002. It specifically compares the experiences of abortion rights activists with those working to address domestic violence. Abortion was an important flashpoint for women's rights during reunification as East German women fought to save the more expansive socialist abortion law. Although this ultimately failed, gender-based and domestic violence activism were in contrast revitalized after the fall of the Berlin Wall. Comparing these two key issues of women's rights, the chapter's aims are twofold. Firstly, by decentring aborti
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Deshmukh, Marion F. "German Art After 1990." In The Oxford Handbook of German Politics. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198817307.013.27.

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Abstract Germany’s aesthetic history, like its political history during the course of the twentieth century, has had a fraught legacy and its complex history continues to cast long shadows to this day. In summarizing cultural trends since unification, history will never be far from the analysis since it begins at the exact moment of the fall of the Berlin Wall in November 1989. This essay describes the major post-1990 trends not only in the visual arts, but also in photography and equally importantly, in the politics of museum curating and museum renovation. For it was due to the latter activi
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Segers, Mathieu. "The hand of French-German friendship (1982-1989)." In The Netherlands and European Integration, 1950 to Present. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728133_ch08.

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When Commission President Jacques Delors floated his highly pragmatic ‘Europe 1992’ agenda in the late 1980s, designed to complete the common market, the Dutch government was, for the first time since 1950, genuinely enthusiastic about European plans. The Single European Act (SEA) was warmly welcomed; an excessively pro-European narrative had taken root and remained dominant when the ambition of a European Monetary Union was explicitly coupled to the future single market, especially the free movement of capital. But the fall of the Berlin Wall and the Franco-German game of high politics that u
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