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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Editorial Reviews
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"Saltzman brings her training as an art historian specializing in contemporary motifs to the demanding task of teaching about post-war Germany to American readers, and does a superb job." New Jewish Books
Book Description
This book examines the legacy of German-Jewish culture in the aftermath of Auschwitz. Kiefer's work mediates the relationship between a deeply traumatic history that he, as artist and second generation German, and we, as post-Holocaust spectators, cannot fully know, but to which his work nonetheless bears witness and provides access.
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2 of 3 people found the following review helpful:
3.0 out of 5 stars
Read the book, not the movie,
By a reader (Albuquerque, NM) - See all my reviews
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This review is from: Anselm Kiefer and Art after Auschwitz (Cambridge Studies in New Art History and Criticism) (Paperback)
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.
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Inside This Book
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First Sentence:
"After Auschwitz, to write a poem is barbaric." Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Anselm Kiefer, New York, Courtesy of Marian Goodman Gallery, Second Commandment, Third Reich, Federal Republic, Fugue of Death, Iconoclastic Controversy, Georg Baselitz, Anselrn Kiefer, Courtesy of Galerie Michael Werner, Courtesy of Heiner Bastian Fine Art, Second World War New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
"After Auschwitz, to write a poem is barbaric." Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
Anselm Kiefer, New York, Courtesy of Marian Goodman Gallery, Second Commandment, Third Reich, Federal Republic, Fugue of Death, Iconoclastic Controversy, Georg Baselitz, Anselrn Kiefer, Courtesy of Galerie Michael Werner, Courtesy of Heiner Bastian Fine Art, Second World War New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 26
books:
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7
books
cite this book:
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- Aesthetic Theory (Theory and History of Literature) by Theodor W. Adorno on page 20, Back Matter (1), and Back Matter (2)
- Anselm Kiefer by Heiner Bastian on page 44, page 68, and page 70
- Male Fantasies, Vol. 2: Male Bodies - Psychoanalyzing the White Terror (Theory and History of Literature, Vol. 23) by Klaus Theweleit on page 49, and Back Matter
- Negative Dialectics (Negative Dialectics Ppr) by Theodor W. Adorno on page 23, and page 47
- Fathers & Sons by Todd Richissin in Back Matter
See all 26 books this book cites
- Walter Benjamin, Religion and Aesthetics: Rethinking Religion through the Arts by S. Brent Plate in Back Matter (1), and Back Matter (2)
- The Night Sky: Writings on the Poetics of Experience by Ann Lauterbach on page 207
- Museums After Modernism: Strategies of Engagement (New Interventions in Art History) by Griselda Pollock on page 107
- At Memory's Edge: After-Images of the Holocaust in Contemporary Art and Architecture by James E. Young in Back Matter
- Museums After Modernism: Strategies of Engagement (New Interventions in Art History) by Griselda Pollock on page 107
See all 7 books citing this book
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