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Zeitschriftenartikel zum Thema "Nazis Germany Art collections":
1
Soloshenko, Viktoriia. „Overcoming the Burdensome Nazi Legacy in Germany’s Cultural Sphere (on the Example of the German Art Institutions“. Diplomatic Ukraine, Nr. XX (2019): 720–28. http://dx.doi.org/10.37837/2707-7683-2019-47.
Annotation:
The article examines the problem of overcoming the burdensome historical legacy of Nazism in the Federal Republic of Germany. Particular attention is attached to the mitigation of the impact of National Socialism on the cultural sphere. An important aspect of studying Nazi history is the analysis of the Weinmüller case, previously unknown archival documents that shed light on the dark pages of German history. The article discusses the place and role of the ‘Adolf Weinmüller’ art institution in Nazi art trade. It has been revealed that this famous art auction house laid the foundations for the development of modern art in Munich and paved the way for the “Neumeister” auction house. The author emphasizes that the provision of access to the private archives of the “Neumeister” auction house, which is the successor of ‘Adolf Weinmüller,’ was a breakthrough in solving national socialists’ crimes and an important step in overcoming the consequences of totalitarianism in Germany. By opening access to the archives of the auction house, Katrin Stoll, the owner of “Neumeister”, encouraged scholars tо conduct a detailed study. It is important to note that no other auction house in Germany has ever dared to take such bold steps. In such a way, the scientific basis was laid for a number of projects aimed at finding and declassifying archival documents. The author emphasizes that Germany’s experience in dealing with such an important problem as overcoming the burdensome historical legacy of Nazism through identification and restitution of property and cultural values looted by the Nazis, is invaluable. In recent decades, the process of addressing this range of problems has been put on a solid governmental footing. Keywords: Germany, auction houses “Adolf Weinmüller”, “Neumeister”, cultural values, collections, trafficking, alienation, National Socialism.
2
Chechi, Alessandro. „THE GURLITT HOARD: AN APPRAISAL OF THE ROLE OF INTERNATIONAL LAW WITH RESPECT TO NAZI-LOOTED ART“. Italian Yearbook of International Law Online 23, Nr. 1 (17.11.2014): 199–217. http://dx.doi.org/10.1163/22116133-90230044.
Annotation:
Two years ago, German authorities conducting a routine tax investigation stumbled on the largest trove of missing artworks since the end of the Second World War. The collection of paintings and drawings was discovered in a Munich apartment owned by Cornelius Gurlitt, the late son of Hildebrand Gurlitt, one of the art dealers approved by the Nazis. It is likely that most of these artworks were plundered from German museums and Jewish collections in the period 1933-1945. The discovery triggered heated debates about the obligations of the German State and the property rights over this art collection. This article looks at the ongoing Gurlitt case from an international law perspective and discusses two different but interrelated issues. First, it traces the genealogy and extrapolates the influence of the international legal instruments that have been adopted to deal with the looting of works of art committed by the Nazis. Second, it examines the available means of dispute settlement that can lead to the “just and fair” solution of Holocaust-related cases in general and the Gurlitt case in particular. The objective of this analysis is to demonstrate that international law plays a key role in addressing and reversing the effects of the Nazi looting.
3
Kacprzak, Dariusz. „FROM THE STUDIES ON ‘DEGENERATE ART’ TWENTY YEARS AFTER THE WASHINGTON CONFERENCE. SZCZECIN’S CASE (MUSEUM DER STADT STETTIN)“. Muzealnictwo 60 (11.07.2019): 126–42. http://dx.doi.org/10.5604/01.3001.0013.2857.
Annotation:
On 5 August 1937, fulfilling the orders of the Chairman of the Reich Chamber of Fine Arts (Reichskammer der bildenden Künste), a confiscation committee showed up at the City Museum in Stettin, and demanded to be presented by the Director of the institution the Museum’s collection in view of ‘degenerate art’. While ‘hunting’ for the Avant-garde and ‘purging museums’, the Nazis confiscated works that represented, e.g. Expressionism, Cubism, Bauhaus Constructivism, pieces manifesting the aesthetics of the New Objectivity, as well as other socially and politically ‘suspicious’ art works from the late Belle Époque, WWI, German Revolution of 1918–1919, or from Weimer Republic Modernism of the 1920s and 30s. The infamous Munich ‘Entartete Kunst’ Exhibition turned into a travelling propaganda display, presented in different variants at different venues. A three-week show (11 Jan.–5 Feb. 1939) was also held in Stettin, in the Landeshaus building (today housing the Municipality of Szczecin). Provenance studies: biographies of the existing works, often relocated, destroyed, or considered to have been lost, constitute an interesting input into the challenging chapter on German and European Avant-garde, Szczecin museology, and on Pomerania art collections. Side by side with the artists, it was museologists and art dealers who cocreated this Pomeranian history of art. The Szczecin State Archive contains a set of files related to ‘degenerate art’, revealing the mechanisms and the course of the ‘museum purge’ at the Stettin Stadtmuseum. The archival records of the National Museum in Szczecin feature fragments of inventory ledgers as well as books of acquisitions, which provide a particularly precious source of knowledge. The published catalogue of the works of ‘degenerate art’ from the Museum’s collections covering 1081 items has been created on the grounds of the above-mentioned archival records, for the first time juxtaposed, and cross-checked. The mutually matching traces of information from Polish and German archives constitute a good departure point for further more thorough studies.
4
Koroleva, A. Y. „Густав Хартлауб и «новая вещественность»: выставка, собирание коллекции, судьба“. Iskusstvo Evrazii [The Art of Eurasia], Nr. 4(19) (30.12.2020): 156–67. http://dx.doi.org/10.46748/arteuras.2020.04.013.
Annotation:
The author of article views the curator activity of famous German art-historian and director of Mannheim Kunsthalle Gustav Friedrich Hartlaub in the context of the collecting and patronage. His interest to actual art has turned to most large-scaled project in the art of Weimar republic, that fixes the bone of new «neorealistic» art in the period between two world wars, that has got a name «New objectivity» after the Hartlaubs exhibition. The aim of article is the study of Hartlaubs role as a gallerist in the awareness of changing, which have took a place in the German art after expressionism and their fixation in the social consciousness by exhibition actual pieces of art and following acquiring of them for different museum collections. For the first time in Russian language tells this article about the rising of interest to the «New Objectivity», the history of the organization of famous exhibition in 1925 and her tourney about Germany, about the problem, that have took a place, also about the contradictions between the participants of two wings inside the movement. Special attention is given to the fate of collection, which was scattered by Nazi. В контексте рассмотрения проблемы коллекционирования и меценатства автор статьи рассматривает кураторскую деятельность известного немецкого искусствоведа Г.Ф. Хартлауба, чей интерес к актуальному искусству в период Веймарской республики обернулся широкомасштабным проектом, зафиксировавшим рождение нового «неореалистического» направления в искусстве между двумя мировыми войнами, получившего название с легкой руки куратора Мангеймского Кунстхалле «новая вещественность». Целью статьи является изучение роли Хартлауба как галериста в осознании перемен, произошедших в немецком искусстве после экспрессионизма, и фиксации их в общественном сознании путем экспонирования произведений остроактуального искусства и их последующего приобретения музеем в свою коллекцию. Статья впервые в русскоязычной литературе освещает предпосылки возникновения интереса к живописи «новой вещественности», историю организации и последующего турне знаменитой выставки 1925 года, рассматривает те проблемы, с которыми столкнулись организаторы, а также внутренние противоречия между участниками и течениями внутри движения. Отдельное внимание уделено судьбе коллекции, разрозненной нацистскими властями.
5
McGill, Dru, und Jennifer St. Germain. „Nazi Science, wartime collections, and an American museum: An object itinerary of the Anthropologie Symbol“. International Journal of Cultural Property 28, Nr. 1 (Februar 2021): 87–106. http://dx.doi.org/10.1017/s0940739121000096.
Annotation:
AbstractA number of recent works have explored the value of scholarly efforts to “unpack” museum collections and examine the constitutive networks and histories of objects. The interrogations of collections through methods such as object biographies and itineraries imparts important knowledge about the institutions, disciplines, and individuals who made museum collections, contribute to deeper understandings of the roles of objects in creating meaning in and of the world, and suggest implications for future practice and policies. This article examines the object itinerary of a cultural property item of negative heritage: a three-dimensional painted plaster work of craft-art originally designed to symbolize the scientific practice of anthropology in early twentieth-century Germany and later associated with wartime collecting during World War II, the history of American archaeology, and the modern repatriation movement in museums.
6
Sijka, Katarzyna. „Losy Sakramentarza Tynieckiego podczas II wojny światowej“. Saeculum Christianum 25 (25.04.2019): 327–40. http://dx.doi.org/10.21697/sc.2018.25.25.
Annotation:
The SacramentoriumTynecensis was written in circa 1060-1070, probably in Cologne. It was located in the Benedictine Abbey in Tyniec from 11th century to 19th century. In 1814 the illuminated manuscript was bought by Stanisław Kostka Zamoyski, then in 1818 he located the codex in the Zamoyski Ordynacja Library in Warsaw. It stayed there to the end of World War II. Two formations of Nazi Germany were as follows: a military unit led by Professor of Archaeology, Peter Paulsen and a group led by art historian Kajetan Mühlman. Both were responsible for the plundering of Poland's cultural heritage. They wanted to get the Sacramentorium Tynecensis because it was connected with German culture. The employees of the Zamoyski Ordynacja Library have tried to rescue the codex, sometimes at the risk of their own lives. In 1944 during the action of rescuing library collections from the ruins of the capital city of Poland (action called ‘Pruszkowska’), the manuscript codex was exported and hidden by Stanisław Lorentz in the Cathedral in Łowicz. Thankfully that the ST returned to Warsaw in 1947 and was deposited in the National Library of Poland.
7
Grimsted, Patricia Kennedy. „Nazi-Looted Art from East and West in East Prussia: Initial Findings on the Erich Koch Collection“. International Journal of Cultural Property 22, Nr. 1 (Februar 2015): 7–60. http://dx.doi.org/10.1017/s0940739115000065.
Annotation:
Abstract:The article contrasts long-suppressed details of German art seizures during the Second World War from Ukrainian state museums and Western Jewish dealers, ordered to Königsberg by Erich Koch, Gauleiter of East Prussia and Reich Commissar of Ukraine. While most of the art from Kyiv was destroyed by retreating Germans when the Red Army arrived (February 1945), here we investigate “survivors.” Initial provenance findings about the collection Koch evacuated to Weimar in February 1945 reveal some paintings from Kyiv. More, however, were seized from Dutch and French Holocaust victims by Reichsmarschall Hermann Göring and his cohorts, including Jewish dealers Jacques Goudstikker (Amsterdam) and Georges Wildenstein (Paris). Many paintings deposited in Weimar disappeared west; others seized by Soviet authorities were transported to the Hermitage. These initial findings draw attention to hitherto overlooked contrasting examples of patterns of Nazi art looting and destruction in the East and West, and the pan-European dispersal of important works of art.
8
Cieślińska-Lobkowicz, Nawojka. „Predator. The Looting Activity of Pieter Nicolaas Menten (1899–1987)“. Zagłada Żydów. Studia i Materiały, Holocaust Studies and Materials (06.12.2017): 112–47. http://dx.doi.org/10.32927/zzsim.712.
Annotation:
The Nazi looting of works of art and cultural goods during 1933–1945 is usually divided into institutionalized and unauthorized, that is, wild one. The former was conducted by state and party special organizations and authorities, while the latter, widespread extensively in the east, was practiced by many Germans on their own account. The author suggests introducing a separate category of “specialized
looting”, encompassing those who engaged in looting with full awareness – on their own account and/or on commission – and who were proficient in evaluation of the artistic goods and knew where and in whose possession they could be found. In the Reich and in occupied France and Holland there were many such expert robbers. In Poland their number remained small after the initial wave of official confiscations. The most notable exception was the Dutchman, Pieter Nicolaas Menten (1899–1987), who after the war became one of the wealthiest citizens of Holland and owner of a private art collection unavailable to the public.
The scope, character, and methods of the looting conducted by Menten for his private use in Kraków and Lvov during the German occupation between early 1940 and the end of 1942 make him a very special case in the history of Nazi looting. These aspects are analyzed on the basis of extensive archival materials and evidence collected in Holland and Poland during the investigations and trials against Menten (the first one took place in the late 1940s and was followed by next ones in the late 1970s), who was accused of collaboration with the Germans and the massacre of Jewish inhabitants of the Galician villages of Urycz and Podhorodce in the summer of 1941. Menten was never sentenced for the looting of works of art in Kraków, where he was an appointed forced administrator of four Jewish artistic salons, or in Lvov, where he appropriated art collections and furnishings of several Lvov professors murdered on 4 July 1941. He was never found guilty even though when in January 1943 he left the General Government and went to Holland he took – with Himmler’s special permission – four railway carriages of valuable works of art, gold and silverware, antique furniture, and Oriental rugs. The post-war collection of works of art in Menten’s possession wasn’t liable to confiscation under Dutch law and has become dispersed.
9
Karrels, Nancy Caron. „Reconstructing a Wartime Journey: The Vollard-Fabiani Collection, 1940–1949“. International Journal of Cultural Property 22, Nr. 4 (November 2015): 505–26. http://dx.doi.org/10.1017/s0940739115000296.
Annotation:
Abstract:In 1940, the British Admiralty detained a British passenger ship sailing from Lisbon to New York at the port of Hamilton, Bermuda, for a contraband search. Customs authorities seized four crates containing hundreds of artworks by leading European artists. Suspected of being sent to New York for sale by the French art dealer Martin Fabiani for the economic benefit of German-occupied France, the captured collection—originally the property of art dealer Ambroise Vollard—was confiscated as a prize of war and sent to Ottawa, Canada, for wartime safekeeping. The National Gallery of Canada stored the collection from 1940 to 1949, when British courts instructed the collection’s Canadian custodian to release it to its rightful owners, Fabiani and the Vollard heirs. This essay reframes the wartime journey of the Vollard-Fabiani collection and challenges the long-held notion that it belongs to the narrative of Nazi-looted cultural property. This essay also highlights an important role played by the National Gallery of Canada during World War II.
10
Pływaczewski, Wiesław. „Kolekcja Corneliusa Gurlitta – współczesne reminiscencje zjawiska grabieży żydowskich dzieł sztuki przez III Rzeszę Niemiecką“. Studia Prawnoustrojowe, Nr. 43 (26.10.2019): 271–82. http://dx.doi.org/10.31648/sp.4636.
Annotation:
The article presents the phenomenon of plundering works of art by German Nazis, as well as contemporary reminiscences of this practice. The authortakes into consideration the media discovery in 2013, that refers to Gurlitt family collection. This occurrence has become an impulse to start a discussion about claims of the heirs of Holocaust victims against the museums and galleries that are in possession of works which provenance is doubly because of legal issues
Dissertationen zum Thema "Nazis Germany Art collections":
1
Khut, Chiew-Lee. „Primacy of ideology? : the confiscation and exchange of "degenerate art" in the Third Reich /“. Title page, abstract and table of contents only, 2001. http://web4.library.adelaide.edu.au/theses/09ARM/09armk45.pdf.
2
Grodzinski, Veronika. „French Impressionism and German Jews : the making of modernist art collectors and art collections in Imperial Germany 1896-1914“. Thesis, University College London (University of London), 2005. http://discovery.ucl.ac.uk/1444726/.
Annotation:
This interdisciplinary thesis is the first dedicated study of German Jewish patronage of French Impressionist and post-Impressionist art in Wilhelmine Germany. It investigates the disproportionately strong impact of German Jewish patronage from three perspectives. It examines the significance of Paul Cassirer's modernist art dealership, the prominence of German Jewish art collectors and their modernist art collections and the presence of German Jewish sponsorship at the Nationalgalerie Berlin, the Pinakothek Munich and the Stadelsche Kunstinstitut in Frankfurt am Main. First it examines Impressionism as the 'painting of modern life' in its original French context, focussing on French Jewish dealer-patrons and collectors whose association with French modernist artists influenced not only its iconography, but also involved French Jews in modern art promotion and marketing. The French model serves as a basis for understanding the reception of such art amongst a liberal circle of Germans and German Jews. The study examines the Wilhelmine reaction to French modernism and shows how antagonism toward Jews and France was often linked and interpreted by conservatives as 'alien elements' in nationalist Germany, thus highlighting Impressionism as a threat of a new Weltanschauung. This thesis suggests that although some German Jews acculturated to the dominant Wilhelmine culture, the championing of modernist art actually emphasized their Jewishness and their role as the 'Other' in German society, despite their patriotism. Yet, in the long run, German Jewish taste for the avant-garde had as much influence on German modernism as German taste had on Jews. The study hypothesizes that German Jews embraced French Impressionism as an 'iconography of inclusion' that coincided with their own experience of modern life and thus their patronage served as a component in the construction of their secular identities. The study concludes that strong German Jewish patronage changed the modern art market irrevocably and by doing so it was not only a turning point for the writing of modern art histories, but also for the reassessment of German Jewish cultural identities, thereby proving that the history of modernist European art patronage encompassed also a history of ideas.
3
Stelzig, Christine. „Afrika am Museum für Völkerkunde zu Berlin 1873-1919 Aneignung, Darstellung und Konstruktion eines Kontinents /“. Herbolzheim : Centaurus, 2004. http://catalogue.bnf.fr/ark:/12148/cb40246115d.
4
Khut, Chiew-Lee 1971. „Primacy of ideology? : the confiscation and exchange of "degenerate art" in the Third Reich“. 2001. http://web4.library.adelaide.edu.au/theses/09ARM/09armk45.pdf.
Annotation:
Bibliography: leaves 156-167. The aim of this thesis is to show how in practice the National Socialists sacrificed ideological considerations to the material advantages that could be gained from the sale of "degenerate art". In practice the term "degenerate" was extended beyond modern art to include French Impressionist and Post-Impressionist art, specifically because they were highly saleable. This is evinced by the sales of "degenerate art" which were conducted by the Reichministerium für Volksklärung und Propaganda (RMVP). The record of the sales compiled by the propaganda ministry in the summer of 1941, provide conclusive evidence that the Reich government compromised its ideological position for financial gain. The sale of "degenerate art" conducted by order of the Reich at the Galerie Fischer auction in Lucerne in 1939, provides further evidence that the practice of confiscation was economically driven.
5
Legault-Béliveau, Julie. „Le rôle des collections dans la légitimation de l'art marginal : le cas de la collection d'art pathologique Prinzhorn“. Thèse, 2010. http://hdl.handle.net/1866/4610.
Annotation:
Au 20e siècle en France et en Allemagne, l’art moderne prend son essor. Certains, comme Francastel, qualifient cet art de destruction d’un espace plastique classique. Cette destruction devient un vecteur de création chez plusieurs artistes qui, suite aux deux grandes guerres, remettent en question leur état « civilisé » et se tournent vers le « primitif » pour offrir une autre voie, loin de tout processus civilisateur. Cette admiration pour les peuples primitifs ainsi que pour les productions artistiques d’enfants, d’amateurs et de « fous » est visible chez plusieurs collectionneurs d’art. En constituant des collections d’art marginal, ces derniers défendaient une idéologie qui propose une autre forme de culture en remplacement d’une civilisation dépassée. Grâce à leurs collections, la libre expression se positionna contre le rationalisme occidental. On compte, parmi ces collectionneurs, le psychiatre Hans Prinzhorn, le marchand d’art Wilhelm Udhe et les artistes André Breton, Jean Dubuffet et Arnulf Rainer. Chacun d’eux a eu un impact sur la construction du récit de l’art moderne et de l’art contemporain. Leurs collections ont chacune sa spécificité et offrent des vocabulaires différents pour parler de productions artistiques marginales, c’est-à-dire se développant « hors culture ». C’est par l’analyse des terminologies employées par les collectionneurs, principalement la dénomination d’art pathologique, que nous tracerons un portrait de la construction historique de l’art marginal en lien avec l’art moderneModern art began its rise at the beginning of the twentieth century in both France and Germany. Somme art theorists like Francastel, propose an identifying characteristic of modern art is the deconstruction of the classic plastic space. During the two World Wars, many artists used this deconstructive process, thus reinvigorating art with ‘‘primitive’’ styles which challenged the ‘‘civilized’’ art of the day. This fascination with the ‘‘primitive’’, including art from children, amateurs, and the ‘‘mentally ill’’, is apparent in many art collections of the time. By collecting these forms of art, the collectors were supporting this new ideology in opposition to occidental rationalism. The psychiatrist Hans Prinzhorn, along with the art sellers Wilhelm Udhe and the artists Andre Breton, Jean Dubuffet and Arnulf Rainer, are a few of the notable collectors. They each influenced the progress of Modern Art; the impact of which is now evident in contemporary art. The individuality of their unique collections offers different interpretations of the marginalized ‘‘outsider art’’. By analyzing the terminologies employed by these collectors, particularly in regards to ‘‘pathological art’’, we may outline a portrait of the development of ‘‘outsider art’’ as it progressed along side modern art.
Bücher zum Thema "Nazis Germany Art collections":
1
Petropoulos, Jonathan. The Faustian bargain: The art world in Nazi Germany. London: Allen Lane, 2000.
2
Petropoulos, Jonathan. The Faustian bargain: The art world in Nazi Germany. New York, N.Y: Oxford University Press, 2000.
3
Vasilʹchenko, A. V. Ariĭskiĭ realizm: Izobrazitelʹnoe iskusstvo Tretʹego reĭkha. Moskva: Veche, 2009.
4
Markin, I︠U︡ P. Iskusstvo Tretʹego reĭkha: Arkhitektura, skulʹptura, zhivopisʹ. Moskva: Izdatelʹskiĭ dom "RIP-kholding", 2012.
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Petropoulos, Jonathan. Art as politics in the Third Reich. Chapel Hill: University of North Carolina Press, 1996.
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Petropoulos, Jonathan. Art as politics in the third reich. North Carolina: University of North Carolina Press, 1996.
7
Alford, Kenneth D. Hermann Göring and the Nazi art collection: The looting of Europe's art treasures and their dispersal after World War II. Jefferson, North Carolina, and London: McFarland & Company, Inc., Publishers, 2012.
8
Wistrich, Robert S. Weekend in Munich: Art, propaganda, and terror in the Third Reich. London: Pavilion, 1995.
9
Bundestag, Germany. Katalog der Kunstwerke in der Kunstsammlung des Deutschen Bundestages. Bonn: Der Beauftragte der Bundesregierung fur̈ kulturelle Angelegenheiten, 1999.
10
Heller, Reinhold. Art in Germany, 1909-1936: From expressionism to resistance : from the Marvin and Janet Fishman collection. Munich, Federal Republic of Germany: Prestel, in association with the Milwaukee Art Museum, 1991.
Buchteile zum Thema "Nazis Germany Art collections":
1
Karaca, Banu. „The Art of Forgetting“. In The National Frame, 120–52. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823290208.003.0005.
Annotation:
Chapter 4 examines decivilizing moments that constitute silences in national art histories and yet are formative for the art world in Germany and Turkey. These silences include art collections that are historically related to the dispossession of minorities during the Holocaust in Germany and the Armenian genocide and subsequent discriminatory practices (e.g., the wealth tax for non-Muslims, 1942) in Turkey. The chapter traces the tensions that have arisen in Germany’s struggle to re-acquire modernist works purged from its institutions during the Third Reich, a process that has often been aided by capital that is itself of Nazi provenance. It shows how East Germany’s socialist art came to be seen as a deviation from the modern paradigm in a reunited Germany, so much so that it was declared aesthetically and morally bankrupt and equated to Nazi cultural production. It outlines similarly forgotten processes in Turkey, e.g., a series of works created during the Anatolian painting tours (1938–43). “Failing” to adequately represent Turkey’s modernization, they have been lost to this day. Discussing artistic interventions of Stih and Schnock (Berlin) and Dilek Winchester (Istanbul), it shows how artists break these silences on historical instances deemed unspeakable within the civilizing narrative of the state.
2
Leh, Almut, und Doris Tausendfreund. „Archiving Audio and Video Interviews“. In Online Research Methods in Urban and Planning Studies, 353–67. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0074-4.ch021.
Annotation:
This chapter explores developments in and prospects for the online archival storage and retrieval of oral history interviews—with a focus on experiences and projects in Germany. The introductory section examines the contemporary history research method, oral history, which has led to extensive collections of interviews with witnesses of different historical periods, including survivors of Nazi persecution. To characterize the nature of oral history interviews, attention is given to their narrative form and the biographical dimension. Emphasizing the specific value of this material, the authors discuss the demands involved in archiving such material framed by the expectations on both sides, witnesses as interview partners and researchers and other interested persons as archive users. A German example for state-of-the-art online archiving strategies called the “Forced Labor 1939-1945. Memory and History” archive, is presented, outlining the technical challenges and research features as well as research functionality and further enhancements. Possible avenues for further development within the field are outlined: a meta-search engine covering multiple databases and an open online archive. A crucial ethical question is also presented in this chapter: How can a responsible online access policy ensure the protection of the contemporary witnesses’ personal rights?
3
Karaca, Banu. „Instead of a Conclusion“. In The National Frame, 209–20. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823290208.003.0008.
Annotation:
The concluding chapter turns to more recent encounters between Turkey and Germany in the form of artist exchanges and “intercultural dialogue,” showing how these programs continue to feed into asymmetric perceptions. The chapter reiterates that analyzing the historical entanglements of Turkey and Germany through decivilizing moments unsettles the asymmetric perception between “Western” and “non-Western” art. It argues that the emancipatory potential of art lies in accounting for rather than trying to reconcile the contradictions in the workings of the art world discussed in the study. The postscript surveys some recent developments (2015–2020): the coup attempt, the surge of political violence and war, the curtailing of democratic structures and human rights in Turkey; and the rise of the far right and new museum mega-projects that aim to resurrect a glorious past with colonial collections of questionable provenance in Germany. These developments not only engender attacks on artistic memory but present new iterations of the sway that ideas of “national art” hold in politics. The cases of Istanbul and Berlin continue to provide insights into how—under the impetus of rising nationalism around the world—local formations of the global art world are being called back into the nation frame.