Aesthetic Politics: Art, Power, and Modern Culture

Washington University, Fall 2002

Bibliographical Information for Reader

  1. Martin Jay, “‘The Aesthetic Ideology’ as Ideology; or, What Does It Mean to Aesthetic�ize Politics?” Cultural Critique (1992): 41-61. ISSN: 0882-4371.
  2. Friedrich Schiller, On the Aesthetic Education of Man In a Series of Letters. Ed. And Trans. Elizabeth M. Wilkinson and L. A. Willoughby. Oxford: Clarendon Press, 1967. 1-47. 170-219. ISBN: None given.
  3. Andreas Huyssen, “Monumental Seduction.” New German Critique 69 (Fall 1996): 181-200. ISSN: 0094-033X
  4. Russell Berman, “The Astheticization of Politics: Walter Benjamin on Fascism and the Avant-Garde,” Modern Culture and Critical Theory: Art, Politics, and the Legacy of the Frankfurt School. Madison University of Wisconsin Press, 1989. 27-41. ISBN: 0-299-12084-8
  5. O. K. Werckmeister, “Traditional Versus Modern Art.” The Political Confrontation of the Arts. Unpublished Manuscript, 2002. 44-59.
  6. Filippo Tommaso Marinetti, “The Foundation and Manifesto of Futurism.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 145-149. ISBN: 0-631-16575-4.
  7. Umberto Boccioni, “Futurist Painting: Technical Manifesto.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 149-152. ISBN: 0-631-16575-4.
  8. Kasimir Malevich, “From Cubism and Futurism to Suprematism: The New Realism in Painting,” “Non-Objective Art and Suprematism,” and “The Question of Imitative Art.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 166-176, 290-92, 292-97. ISBN: 0-631-16575-4.
  9. Richard Hülsenbeck and Raoul Hausmann. “What is Dadaism and what does it mean in Germany.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 256-257. ISBN: 0-631-16575-4.
  10. Richard Hülsenbeck, From “En Avant Dada.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 257-260. ISBN: 0-631-16575-4.
  11. Osip Brik, “From Picture to Calico-Print” and “Photography versus Painting.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 324-328, 454-457. ISBN: 0-631-16575-4.
  12. Clement Greenberg. “Avant-Garde and Kitsch.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 529-541. ISBN: 0-631-16575-4.
  13. Oswald Spengler, From “The Decline of the West.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 227-229. ISBN: 0-631-16575-4.
  14. Carlo Carrà, “Our Antiquity.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 229-234. ISBN: 0-631-16575-4.
  15. Vladimir Ilyich Lenin, “On Proletarian Culture.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 383-384. ISBN: 0-631-16575-4.
  16. AkhRR, “Declaration” and “The Immediate Tasks of AkhRR.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 384-387. ISBN: 0-631-16575-4.
  17. ARBKD (Asso), “Manifesto and Statutes.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 390-393. ISBN: 0-631-16575-4.
  18. Alfred Rosenberg, From “The Myth of the Twentieth Century.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 393-395. ISBN: 0-631-16575-4.
  19. George Lukács, “Tendency or Partisanship.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 395-400. ISBN: 0-631-16575-4.
  20. Andrei Zhdanov, “Speech of the Congress of Soviet Writers.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 409-412. ISBN: 0-631-16575-4.
  21. Adolf Hitler, “Speech Inaugurating the ‘Great Exhibition of German Art’.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 423-426. ISBN: 0-631-16575-4.
  22. Bertolt Brecht, “Popularity and Realism.” Art in Theory. 1900-1990. Eds. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 489-493. ISBN: 0-631-16575-4.
  23. Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction.” Illuminations. Ed. Hannah Arendt. Trans. Harry Zohn. New York: Schocken Books, 1969. 217-252. ISBN: 0805202412           
  24. Selections from Roger Griffin, ed., International Fascism: Theories, Causes and the New Consensus. London: Arnold / Oxford University Press 1998. 1-13. 59-66. 86-155. 216- 226. ISBN: 0340706147
  25. Eric Hobsbawm, “Foreword.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 11-15. ISBN: 1 85332 148 6.
  26. David Elliott, “The Battle for Art.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 31-35. ISBN: 1 85332 148 6.
  27. Tim Benton. “Speaking Without Adjectives.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 36-42. ISBN: 1 85332 148 6.
  28. Simonetta Fraquelli, “All Roads lead to Rome.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 130-136. ISBN: 1 85332 148 6.
  29. Jeffrey Schnapp, “Epic Demonstration: Fascist Modernity and the 1932 Exhibition of the Fascist Revolution,” Fascism, Aesthetics, and Culture. Ed. Richard Golsan. Hanover, NH: University Press of New England, 1992. 1-37. ISBN: 0874515785.
  30. Andrew Hewitt, “Avant-Garde and Technology: Futurist Machines—Fascist Bodies.” Fascist Modernism: Aesthetics, Politics, and the Avant-garde. Stanford: Stanford University Press, 1993. 133-160. ISBN: 0804721173.
  31. Steve Neale, “Triumph of the Will: Notes on Documentary and Spectacle,” Screen 20.1 (1979): 63-86. ISSN: 0036-9543.
  32. Philippe Lacoue-Labarthe and Jean-Luc Nancy, “The Nazi Myth.” Trans. Brian Holmes. Critical Inquiry 16.2 (Winter 1990): 291-312. ISSN: 0093-1896.
  33. Susan Sontag, “Fascinating Fascism.” Under the Sign of Saturn. New York: Farrar, Straus and Giroux, 1980. 71-105. ISBN: 0374280762
  34. O. K. Werckmeister, “The Totalitarian Restoration of Traditional Art.” The Political Confrontation of the Arts. Unpublished Manuscript, 2002. 92-104.
  35. Berthold Hinz, “Genre Painting,” “National Socialist Painting,” “Photography and Mass Media.” Art in the Third Reich. New York: Pantheon Books, 1979. 65-186. ISBN: 0-394-73743-1.
  36. O. K. Werckmeister. “The Totalitarian Suppression of Modern Art.” The Political Confrontation of the Arts. Unpublished Manuscript, 2002. 106-123.
  37. George L. Mosse. “Beauty without Sensuality: The Exhibition ‘Entartete Kunst’.” Degenerate Art: The Fate of the Avant-Garde in Nazi Germany. Ed. Stephanie Barron. Exhibition Catalogue. Los Angeles, 1991. 25-32. ISBN: 3-7774-5880-5.
  38. Mario Andreas von Lüttichau. “Entartete Kunst, Munich 1937. A Reconstruction.” in Barron, Stephanie (Ed.). Degenerate Art: The Fate of the Avant-Garde in Nazi Germany. Ed. Stephanie Barron. Exhibition Catalogue. Los Angeles, 1991. 45-83. ISBN: 0810936534.
  39. Richard Burt, “‘Degenerate Art’: Public Aesthetics and the Simulation of Censorship in Postliberal Los Angeles and Berlin.” The Administration of Aesthetics. Censorship, Political Criticism, and the Public Sphere. Ed. Richard Burt. Minneapolis and London: University of Minnesota Press, 1994. 216-259. ISBN: 0-8166-2367-8.
  40. Susan Buck-Morss, “Aesthetics and Anaesthetics: Walter Benjamin’s Artwork Essay Reconsidered.” October (Fall 1992): 3-41. ISSN: 0162-2870 0162-2879.
  41. Winfried van der Will, “The Body and the Body Politic as Symptom in the Transition of German Culture to National Socialism.” The Nazification of Art: Art, Design, Music, Architecture and Film in the Third Reich. Eds. Brandon Taylor and Wilfried an der Will. Winchester: Winchester Press, 1990. 14-52. ISBN: 0950678392.
  42. Bernd Nicolai. “Tectonic Sculpture.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 334-337. ISBN: 1 85332 148 6.
  43. Berthold Hinz, “Art in the Third Reich.” Art in the Third Reich. New York: Pantheon Books, 1979. 1-21. ISBN: 0394737431.
  44. Richard Taylor, The Battleship Potemkin. London: I.B. Tauris, 2000. 65-127. ISBN: 1860643930
  45. David Elliott, “Introduction” and “The End of the Avant-Garde.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 186-188 and 195-199. ISBN: 1 85332 148 6.
  46. Lutz Becker, “Optimistic Realism.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 199-200. ISBN: 1 85332 148 6.
  47. Brandon Taylor. “Photo-Power” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 249-252. ISBN: 1 85332 148 6.
  48. Boris Groys. The Total Art of Stalinism. Princeton: Princeton University Press, 1992. ISBN: 0-691-055596-3.
  49. O.K. Werckmeister, “The Monumental Setting of Totalitarian Rule.” The Political Confrontation of the Arts. Unpublished Manuscript, 2002. 75-89.
  50. Tim Benton. “Rome Reclaims its Empire.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 120-129. ISBN: 1 85332 148 6.
  51. Igor A. Kazus. “The Great Illusion.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 189-194. ISBN:
  52. Jean-Louis Cohen. “When Stalin meets Haussmann.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 246-248. ISBN: 1 85332 148 6.
  53. Ian Boyd White. “National Socialism and Modernism.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 258-269. ISBN: 1 85332 148 6.
  54. Winfried Nerdinger. “A Hierarchy of Styles.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 322-325. ISBN: 1 85332 148 6.
  55. Wolfgang Schäche, “From Berlin to ‘Germania’.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 326-329. ISBN: 1 85332 148 6.
  56. Barbara Miller Lane. “Nazi Architecture” in Barbara Miller Lane. Architecture and Politics in Germany 1918-1945. Cambridge, Mass: Harvard University Press, 1985. 185-216. ISBN: 0-674-04370-7.
  57. Dawn Ades, “Art as Monument” and “Paris 1937.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 50-56 and 58-62. ISBN: 1 85332 148 6.
  58. Karen A. Fiss, “The German Pavilion.” Art and Power: Europe under the Dictators, 1930-45. Eds. Dawn Ades et al. London: Hayward Gallery, 1995. 108-110. ISBN: 1 85332 148 6.
  59. Hal Foster, “Contemporary Art and Spectacle.” Recodings: Art, Spectacle, Cultural Politics. Seattle: Bay Press, 1985. 79-96. ISBN: 0941920046
  60. Lisa Saltzman. “Introduction”, “Our Fathers, Ourselves: Icarus, Kiefer, and the Burdens of History”. “The Sons of Lilith” In ibid. Anselm Kiefer and Art after Auschwitz. Cambridge, UK and New York: Cambridge University Press, 1999, 1-17, 48-96. ISBN: 0521630339 (hbk.)
  61. Dieter Bartetzko. Die Rede / The Speech. Düsseldorf: Heinen Druck Verlag, 1990. ISBN: 3-9802266-3-8.
  62. Anton Kaes. “Germany as Myth.” From Hitler to Heimat. The Return of History as Film. Cambridge, Mass.: Harvard University Press, 1989, 39-72.