In one of the most comprehensive analyses ever written on the subject, Michael Tymkiw reassesses the relationship between Nazi exhibition design and modernism. While National Socialist exhibitions are widely understood as platforms for attacking modern art, they also served as sites of surprising formal experimentation among artists, architects, and others, who often drew upon and reconfigured the practices and principles of modernism when designing exhibition spaces and the objects within. In this book, Tymkiw reveals that a central motivation behind such experimentation was the interest in provoking what he calls "engaged spectatorship"—attempts to elicit experiences among exhibition-goers that would pique their desire to become involved in wider processes of social and political change. For historians of art, architecture, performance, and other forms of visual culture, Nazi Exhibition Design and Modernism unravels long-held assumptions, particularly concerning the ideological stakes of participation.

Nazi Exhibition Design and Modernism

The equation of education and self-cultivation was an Enlightenment ideal which has become a hallmark of bourgeois culture. Prizing Bildung, the bourgeoisie professed an appreciation for art, music, and literature. Within their libraries, comprehensive scholarly texts intended for academic and well-educated, lay audiences occupied a special place. Marrying illustration with academic investigation, the Sittengeschichte (history of morals) could also be found on the bourgeois library shelf and afforded its readers a glimpse into a world outside the strict parameters of bourgeois propriety. During the Weimar Republic, the demand for illustrated Sittengeschichten increased dramatically among the bourgeoisie, meeting their ideal of Bildung and intersecting with the more general eroticization of visual imagery at the time. Images were transformed into legitimate source material through the manner in which they were accessed and controlled by readers; potentially obscene material was domesticated in books by associations of class and culture. However, while they served an instructional need, the books also met an erotic market demand. In considering them, the social needs, sexual anxieties, and bodily desires of reading audiences commingle on these pages, revealing useful insights into the bourgeois institutions of culture and moral order in 1920s Germany. This article is available in Studies in 20th Century Literature: http://newprairiepress.org/sttcl/vol22/iss1/6 \"A Lustful Passion for Clarification\": Bildung, Aufldeirung, and the Sight of Sexual Imagery Stephanie D'Alessandro University of Chicago

/pdf/a-lustful-passion-for-clarification-bildung-aufklarung-and-kjde8r7lkx.pdf

A Lustful Passion for Clarification: Bildung, Aufklärung, and the Sight of Sexual Imagery

Photography’s Weimar-Era Proliferation and Walter Benjamin’s Optical Unconscious

The British Reception of Brücke and German Expressionism

/pdf/forum-visual-studies-the-art-historians-view-2zcmqty7mz.pdf

Forum: Visual Studies—The Art Historians’ View

(2013). Arts and Crafts, Nietzsche und die fruhe Brucke. Studien zur Graphik Ernst Ludwig Kirchners Louisa Theobald. The Journal of Modern Craft: Vol. 6, No. 2, pp. 243-245.

Arts and Crafts, Nietzsche und die frühe Brücke. Studien zur Graphik Ernst Ludwig Kirchners Louisa Theobald

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Forum: Visual Studies—The Art Historians’ View

Arts and Crafts, Nietzsche und die frühe Brücke. Studien zur Graphik Ernst Ludwig Kirchners Louisa Theobald