Head to the Barber Institute this Friday (12-5pm) and Saturday (11am-4pm) to grab some bargain books on our favourite subjects: art and music! Bound to be plenty on offer to help you nail those upcoming essays…
Head to the Barber Institute this Friday (12-5pm) and Saturday (11am-4pm) to grab some bargain books on our favourite subjects: art and music! Bound to be plenty on offer to help you nail those upcoming essays…
‘Projecting culture’ forms the name and basis of an exciting student-led project, which has been made possible thanks to the university’s generous Education Enhancement Fund. The funding scheme is designed to provide students with up to £1,000 to realise a project which engages directly with, and contributes to, ‘the enhancement of students’ educational experience at the University’.
Back in summer 2014, History of Art students Hannah Welfare and Sarah Theobald crafted an intricate proposal which aimed to expand UoB students’ cultural engagement. The aim was to highlight events and venues not only right under their noses on campus, but across the whole of Birmingham. From the offset it was decided that, in order to showcase the wealth of places on offer we would create two short films – one focusing on campus-based attractions and the other on places further afield in the city. With helpful support from the Centre of Learning and Academic Development, ‘Projecting Culture’ was born.
As a History of Art student I was aware of the many galleries and activities open to students across the local area – Digbeth Dining Club and First Friday, Eastside Projects and Grand Union, just to name a few. However, I also understood how my experience fed naturally into my degree and that it would be fantastic to raise the profile of these great, interesting and, most importantly, cultural places to all students, not just those studying Arts-based subjects. ‘Projecting Culture’ also showcases to prospective students what is on offer beyond the university, demonstrating why Birmingham is a wonderful place to study.
Since September 2014, the team has seen the project really start to heat up, with liaisons across the board between staff, gallery professionals and enthusiastic volunteers. For everyone taking part this project has certainly allowed for the development of new skills and experiences outside the practical and academic structure of degree studies. Fellow Art History students Jess Stallwood and Oliver Stevenson have been working behind the camera to jointly direct and edit the production. With the large body of filming primarily under our belts, we are currently in the editing phase of the project, polishing up the footage of some great local ‘gems’- including the Ikon Gallery, the Digital Humanities Hub and Winterbourne House and Gardens. Each new location, whether on campus or in the city, brings with it new and exciting challenges. Despite the majority of students involved in this project being from the Art History department, our tastes are quite diverse, which allowed us to explore and select a real variety of locations, as well as choosing the ones which really showed Birmingham as the thriving city we all know and love!
When ‘Projecting Culture’ was getting off its feet back in the first term I never could have imagined the broad range of skills I would develop as part of this team. All in all, I have continued to step outside my comfort zone to engage with the local cultural offer and appreciate a novel way of expanding fellow students’ cultural horizons. Also, it has been refreshing to examine these places from a more practical perspective, assessing whether they were suitable for filming as well as selecting which elements we should emphasise in order to appeal to a broad range of students’ interests.
The grand screening for the ‘Projecting Culture’ films is being held on Wednesday 3rd of June at the Barber Institute of Fine Arts, commencing at 5.45pm with free popcorn and wine all round. All are welcome, so if you are interested in attending, don’t hesitate to email Jess Stallwood (contact JMS367@student.bham.ac.uk), or see our facebook page for more information. For a taste of what to expect, check out the trailer here!
Applications for this year’s Education Enhancement fund are now open, so if you have an idea on how you could spend that £1000, I would thoroughly recommend giving it a shot!
Registration is now open for the conference House, Work, Artwork: Feminism and Art History’s New Domesticities, which will take place on 3 and 4 July 2015 at the Barber Institute of Fine Arts, University of Birmingham. The conference has been co-organised by our very own Fran Berry and Jo Applin (University of York).
The keynote speakers are Mignon Nixon (Courtauld Institute of Art, London) and Julia Bryan-Wilson (University of California, Berkeley).
Other speakers include: Sarah Blaylock (UC Santa Cruz), Amy Charlesworth (Open University), Agata Jakubowska (Adam Mickiewicz University), Teresa Kittler (UCL), Alexandra Kokoli (Middlesex University), Megan Luke (University of Southern California), Barbara Mahlknecht (Academy of Fine Arts, Vienna), Alyce Mahon (University of Cambridge), Elizabeth Robles (University of Bristol), Harriet Riches (Kingston University), Giulia Smith (UCL), Catherine Spencer (University of St. Andrews), Amy Tobin (University of York).
For further details and to register (tickets £10), please visit the conference website.
House, Work, Artwork: Feminism and Art History’s New Domesticities is co-sponsored by the University of Birmingham, University of York, and the Oxford Art Journal.
Esther Newman, student of English Literature and Classical Civilisation and a volunteer at the University’s Research and Cultural Collections tells us about the artist behind one of the Barber’s most iconic images…
Today, Thursday, 16th April, marks the birth, 260 years ago, of Louise Élisabeth Vigée-Lebrun (1755 – 1842), a pioneer in women’s art and the artist behind the portrait of Countess Golovine who gave her name to this blog. Through her work, Vigée-Lebrun radically changed the perception and respectability awarded to female artists. She is recognised today as the most prominent female painter of the eighteenth century; during her impressive career, she was one of the first women accepted into the Académie Royale de Peinture et de Sculpture in 1783 and was granted the patronage of Marie Antoinette for six years.
Her style, while generally considered Rococo, also shows an interest in Neoclassicism. In reflecting the Age of Enlightenment, late eighteenth century art rejected the excesses of Rococo in favour of the style and spirit of classical antiquity. While Vigée-Lebrun’s work echoes these transitions, her work, and especially her portraits of Marie Antoinette, are now considered exemplary of Rococo.
Vigée-Lebrun was born in Paris on April 16th 1755 to a hairdresser mother and artist father. Her father, Louis Vigée, a noted portraitist, was her first teacher. By the time she was in her early teens she was painting portraits professionally of various members of aristocracy and her works were exhibited at the Académie de Saint Luc. In 1779 her big break came when she was summoned to Versailles to paint Marie Antoinette. Having previously disregarded other portraits of herself, the queen was impressed by Vigée-Lebrun’s style; Vigée-Lebrun continued to paint the queen for six years, resulting in over thirty portraits.
Given that this was a pre-photographic society, portraiture was incredibly important in the presentation of public figures. In 1785, Vigée-Lebrun was commissioned to paint the queen and her children. In response to ever-growing hostility, Vigée-Lebrun’s Marie-Antoinette and her Children (1787), which depicts the queen as a devout motherly figure, was instrumental in improving public opinion and in making her more relatable to the French people. Even today, Vigée-Lebrun continues to shape how we see Marie Antoinette.
Due to her connection with the queen, in 1783 Vigée-Lebrun was begrudgingly accepted into the Académie Royale de Peinture et de Sculpture alongside three other women.
With the outbreak of the French Revolution in 1789, Vigée-Lebrun, a strong Royalist with close connections to the royal family, left France. For 12 years she lived and travelled abroad, visiting Rome, Naples, Vienna, Berlin, St. Petersburg, Moscow and London, and painting portraits of aristocrats and prominent social figures.
During her time in Moscow, Vigée-Lebrun met and befriended Countess Varvara Nikolaevna Golovine (1766 – 1821). Her portrait, which is housed in the Barber Institute of Fine Arts, depicts the Countess almost entirely enveloped in a red cloak. What leaps out of the portrait is her gaze; her eyes fix upon the viewer unwaveringly, and with unnerving candour. A ray of light falls into the portrait at an angle, cutting the background diagonally into a dark side and a light, with which the artist heightens the dramatic nature of the pose. There is an aspect of spontaneity and informality about the Countess’ pose which, along with her fixed stare, draws in the viewer.
While travelling, Vigée-Lebrun maintained a place in high society and, as such, gained respect and influence. In 1810, she returned to Paris to live, remaining here and continuing her work, until her death on the 30th March 1842.
In her memoirs, Souvenirs de ma vie (1835 – 1837), Vigée-Lebrun accounts that, during her career, she painted 900 pictures, including some 600 portraits and 200 landscapes. Her depiction of the French aristocracy before its downfall sees a world of decadence and luxury; her work, which pays great detail to the fashion and clothing of her subjects, documents a time in history that we will never see again. Her legacy is of a woman who, despite contemporary attitudes to female artists, proved herself one of the most technically skilled portraitists of the age, and perceptively aware of what her art could achieve socially.
If you would like to write for The Golovine on art-related subjects in Birmingham and beyond, send us an email to email@example.com
Back in October last year, Jen Ridding, Learning and Access Officer at the Barber Institute of Fine Arts, invited History of Art PhD students to help deliver a workshop for sixth formers that she was planning in association with ARTiculation Prize.
ARTiculation is an annual national competition organised by The Roche Court Educational Trust, which invites sixth-form students to give a short presentation on a work of art, artefact, or architecture of their choice. The Midlands regional heat of the competition took place on 19 January at Ikon Gallery, Birmingham, adjudicated by our very own Dr Richard Clay, Senior Lecturer in History of Art. Jen and Erin Libetta, Learning Assistant at Ikon, organised the workshop at the Barber to support students wishing to apply for the ARTiculation process. The workshop was also an opportunity for sixth formers who are passionate about art and might be interested in pursuing a Higher Education art-based course to test out their visual analysis skills in a University-based collection.
In preparation for our workshop with the sixth formers, we had a fantastic training session with Sarah Rowles, Director of Q-Art, an organisation that supports access to and development in art education. The training workshop was based on a ‘crit session’ that are normally held in art schools where students present their work to a group of peers who then respond and offer their interpretations of the work under scrutiny. For this workshop we adapted the crit format to consider artworks from the Barber’s collection. We all enjoyed and appreciated spending a Thursday afternoon upstairs in the Barber galleries analysing works that none of focus on in our own research!
The following week, 12 sixth formers from 3 local schools and colleges attended our workshop at the Barber, some of whom hadn’t visited the collection here on campus before. Lucy Salisbury, Head of Outreach at The Roche Court Educational Trust also joined us to participate and spread the word about ARTiculation. We began the session by watching a talk given at last year’s ARTiculation competition by Harr-Joht Takhar on BM&AG’s Man with Sheep by Ana Maria Pacheco. Harr-Joht was also at the workshop and was on-hand to share her experiences with the rest of the group. She emphasised how much she had enjoyed taking part previously as it enabled her to develop different skills, not only in presenting but also, for example, the ability to research a subject independently.
We then divided into groups, each led by one or two of us PhD students, to produce a list of questions we might ask when facing an artwork for the first time, such as ‘what kind of reaction does this work provoke’, ‘how was it made’ and ‘what is particularly striking about it’? Armed with our A3 sheets of probing questions, we went upstairs in the galleries where each group selected an artwork on which to test out their enquiries. Group 1 picked a nineteenth-century painting depicting a tranquil, green landscape, Group 2 selected a seventeenth-century bronze statuette of a horse and Group 3 opted for a large Renaissance painting representing an exchange between two figures amidst a crowd of people. Without looking at any labels for clues, insightful group discussions ensued about the possible reasons why the particular spot depicted in the landscape had been chosen, who might have owned a bronze sculpture of a horse, and who each of the figures might be in the Renaissance painting. Each group then gave a short informal presentation to everyone else about their findings.
Before the workshop, students were asked to bring along an image of their choice. We concluded the session with partner-work where the students swapped images in their pairs and spent a few minutes analysing one another’s artwork.
Overall we thoroughly enjoyed helping Jen and Erin to lead the workshop, and feedback indicates that the students enjoyed the opportunity to interrogate artworks in the Barber’s wonderful collection.
Erin Libetta said of this year’s ARTiculation heat at Ikon:
‘‘The ARTiculation Regional Heat, has been a highlight in Ikon’s calendar for the last four years. This year’s event was no exception, with seven speakers taking part from Sixth Forms across the Midlands and talks ranging from the subjects of architecture and illustration, to the very artworks that formed a backdrop to the proceedings, namely Ikon’s exhibition of work by Deutsche Bank Artist of the Year, Imran Qureshi. There was a fantastic atmosphere in the galleries, which were full of peers and teachers from the participating schools supporting their speakers. It was really encouraging to see students, that had taken part in taster ARTiculation Crit Sessions and Discovery Days, build the confidence to enter the regional heat, moreover securing runner-up positions.’
The winners of Ikon’s regional heat were:
First Prize Winner: Thomas Leung from Bancroft’s School for his presentation, The Turbine Hall.
Second Prize Winner: Javerya Iqbal from Holly Lodge High School for her presentation, Imran Qureshi, The Leprous Brightness (2011).
Third Prize Winner: Oscar Boyle from Kings School Worcester for his presentation, Cy Twombly, Leda and The Swan (1962).
The final of ARTiculation takes place at Clare College, University of Cambridge this Saturday (7 March). The adjudicator will be Dr. Penelope Curtis, Director, Tate Britain.
Lauren Dudley & Imogen Wiltshire
Since graduating from the Department of Art History, Film and Visual Studies at The University of Birmingham, I thought life could only get easier with a degree under my belt. I started the summer as an optimistic graduate, thinking “Yeah, I’ve got this” for every job/internship/work experience placement that I applied for. This feeling of optimism lasted about two weeks. I made out over thirty applications but only heard back from one, at the White Cube Gallery.
I applied to the White Cube through their website, after visiting their Bermondsey gallery in the summer and having been impressed with what I saw. I sent a long cover letter detailing everything I knew about contemporary art, thanks, in no small part, to the BA I’d just finished at Birmingham, in the hope that my application would stand out. Luckily, it paid off!! I was invited to interview with the Head of Archives who decided that I was a good enough candidate to be her intern and assistant. Thus began my journey as an Archive Editorial Intern for White Cube Gallery.
On my first day at White Cube, I was given a tour of the gallery. The gallery is a refurbished 1970’s warehouse and the space is amazing. There are three major exhibition spaces as well as an archive space, private viewing rooms, office space, a warehouse, and auditorium and a bookshop. The warehouse is one of the best spaces: the gigantic space houses loads of works of art and I was lucky enough to see pieces by the likes of Marc Quinn, Eddie Peake and Jac Lierner, which were being photographed and stored.
In my role as Archive Editorial Intern, I was expected to manage the White Cube’s archive. The gallery holds a comprehensive archive with material dating from Jay Jopling’s first charity auction. Every single artist represented by White Cube has archive material, which ranges from press articles, letters and other ephemera (I found an artist’s paint palette during one of my trawls through the boxes). As an intern, I was expected to maintain this archive by requesting material from exhibitions that the artists in question were involved in, and organise them properly in hard and digital formats. This entailed corresponding with international and national galleries and museums to acquire this material.
In the second year of my BA degree I did a module called ‘Inside the Gallery’, and the module played a formative role in my decision to pursue a career in the professional art world. After curating a hypothetical exhibition and working on the interpretation material for the exhibition, which is the main output of the Inside the Gallery module, I decided that working in a gallery was exactly what I wanted to do. What’s more, the knowledge and experience I gained from the module was a considerable help during my internship, because I was already aware of the ways in which galleries operate, especially when it comes to marketing, publishing and the press. It also helped me during my exhibition material requests as I felt comfortable taking the responsibility of corresponding directly with other art institutions and understood my responsibility in maintaining the White Cube archive.
One of the projects I was given during my internship was to curate an exhibition on Tracey Emin, based on archival material that the White Cube possesses and features writings by Emin. This exhibition had to be visually powerful as well as representative of the White Cube’s holdings of Emin’s material. The focus was to be on Emin’s solo exhibitions and notable projects, such as her column for The Times Magazine and her contribution to the Olympics. The material I had at my disposal, the contents of the archive, includes hand-written letters to Jay Jopling as well as postcards sent by Emin from her holidays to the staff at the London gallery. There is, in short, a wealth of material in the archive, which is regularly used by the gallery as promotional objects or research material.
My internship lasted several exhibitions. The Gallery mounted shows on David Hammons, Tracey Emin, Etel Adnan and Liza Lou and Senga Nengudi, all of which I was able to contribute directly towards. Everything I did had a purpose for the archive. As an intern, I didn’t think I would get so much responsibility working in the gallery but I was responsible for the artists’ bibliographies and publications. The internship also allowed me to visit other galleries and join in with the events at White Cube, such as private views, talks and lectures. I had the privilege of attending a private view of Anselm Kiefer’s Royal Academy exhibition which was guided by Tim Marlow.
My experience at the Barber Institute, where I regularly volunteered during my degree and where the Art History department is based, the RBSA, where I worked during my degree, and the White Cube has demonstrated quite clearly that not every gallery works in the same way, and my combined experience has introduced me to a wealth of careers that are possible in the arts sector. The internship also allowed me to develop my understanding of contemporary art and its processes. I did work directly for artists studios, like Jake and Dinos Chapman and Mona Hatoum, which has given me a valuable insight into the way artists mediate between dealers and their consumers.
From my experience, I would definitely advise sending out loads of CVs because you never know what you might get. During my time at White Cube, I was also offered work experience with Christie’s House Sales department. A placement I applied for in August, I was offered a chance to work there in November for two weeks. Things like that can happen – you get nothing and then suddenly two things come at once! The past year after graduation has been incredibly valuable for my own personal development and I think I finally have an idea of what I actually want to do. My final piece of advice to all would-be graduates is not to worry about securing a job straight away, particularly in the arts sector, gaining the professional experience through voluntary or unpaid work is just as important as the knowledge gained from the degree…so I guess…just go for it!
Funding for Work Experience
The Department is pleased to announce the Matt Carey-Williams and Danny Roark Awards, a generous donation funded by one of our alumni that will allow undergraduate students to apply for bursaries of c. £300-500 to enable them to undertake internships, work experience and placements.
The University of Birmingham UK Professional Work Experience scheme also offers financial support for undergraduates (except final years) to undertake work experience in the UK in the summer vacation. Find out more here. The deadline for applications is 29 March. Last year, History of Art student Olivia Weightman received funding to undertake work experience at Christie’s. Read about her experience here.
The Association of Art Historians (AAH) also runs an Internship Award. There are two awards of up to £2,000 each towards placement-related expenses such as accommodation, travel and food. The Internship Award supports both full-time and part-time placements/ internships. The deadline is 1 April.
DEPARTMENT OF ART HISTORY, FILM AND VISUAL STUDIES RESEARCH SEMINAR SERIES 2014 – 15
Thursday 26 February, 5.15 pm
Barber Institute Photograph Room
This paper examines the Occupational Therapy courses that László Moholy-Nagy developed at the New Bauhaus in Chicago during the Second World War through the lens of Actor-Network Theory. As is widely known, Moholy-Nagy founded the New Bauhaus, which later became the Institute of Design, in Chicago in 1937 after his emigration from Nazi Germany via London to the US. Less well known, however, and forming the focus of this paper is that in Chicago in 1942 he applied Bauhaus educational techniques, based on investigating materials and gaining tactile experience, for therapeutic purposes, especially for injured war veterans. The New Bauhaus’ Occupational Therapy training courses proposed, significantly, a new function for art within modernism and constitute important historical intersections between art practice and rehabilitation.
Actor-Network Theory (ANT) is a methodology developed by Bruno Latour, John Law and Michel Callon, amongst others, which so far has had little attention in the Humanities. By challenging the notion of a fixed ‘social’ and the concept of ‘context’ (such as a preconceived social context) into which subjects of enquiry are located, this theory is arguably pertinent to art history, particularly in view of Latour’s suggested solution of instead tracing associations between human and non-human actors in a network. Accordingly, while this paper analyses the dissemination of Bauhaus pedagogic approaches for rehabilitative training in the 1940s, it also offers less concrete, more exploratory methodological suggestions about the possible relevance and uses of Actor-Network Theory.
With the new semester in full swing, there’s no shortage of events to get yourself along to in the Barber Institute and elsewhere on campus. Here’s a few suggestions:
The next CeSMA seminar is being given by Erica O’Brien, an art historian from Bristol University. Her paper is entitled ‘Family and faith: sensory experience and devotional memory in the Hours of Mary of Burgundy’.
This Spring the Barber celebrates the research of recent and current postgraduate students from the University’s art history department in this mini lecture series.
Pam Cox (4th Feb.)
An Open and Shut Case? An Exploration into Jan de Beer’s Joseph and the Suitors and the Nativity at Night
Faith Trend (18th Feb.)
Venice Through the Eyes of its Artists: Canaletto and Guardi’s Landscape Paintings
Jamie Edwards (4th March)
Il fiammingo in Italia: Netherlandish artists and the allure of Italy in the 15th and 16th centuries
Find out more about the mysterious ‘behind the scenes’ world of art conservation with paintings conservator Ruth Bubb, who has just completed the restoration of the Institute’s Peasants binding faggots by Pieter Brueghel the Younger.
The Barber Institute’s full programme of events for January through to April is available here.
Free and all welcome but booking is required. Please email firstname.lastname@example.org to reserve a place.
Free and all welcome but booking is required. Please email email@example.com to reserve a place.
The Barber Association’s programme for Spring is now available here! Highlights include:
Free for Barber Association members (usually £10). No booking required!
Free but booking is required. To reserve a place email firstname.lastname@example.org
Thursday 29 January
Rosalie van Gulick (University of Utrecht; Barber Institute)
“Utter lack of true dramatic feeling”: Exploring Jan Steen’s The Wrath of Ahasuerus
Thursday 5 February
Richard Taws (University College London)
Trickster, Charlatan, Apparition, King: Representing Royal Impostors in Post-Revolutionary France
Thursday 26 February
Imogen Wiltshire (University of Birmingham)
‘Better Than Before’?: Actor-Network-Theory and László Moholy-Nagy’s Occupational Therapy Courses
Thursday 5 March TBC
Sophie Bostock (Qatar Museums)
Thursday 12 March
Gaby Neher (University of Nottingham)
Thursday 19 March
Jamie Edwards (University of Birmingham)
Seeing Spiritually and Seeing the Spiritual: Seeking some Perspective on Pieter Bruegel’s Paintings
Thursday 26 March
Abigail Harrison Moore (University of Leeds)
Palpitatingly Modern Luxury: Electrifying the Country House
CALL FOR PAPERS
Conference, Department of Art History, Film and Visual Studies, University of Birmingham, UK: Friday 3 July – Saturday 4 July 2015.
This conference is motivated by the premise that it is appropriate for feminist art history to re-visit and newly configure theoretical, methodological and political debate around modernist, postmodernist and contemporary artistic practice in relation to the domestic. Having been a significant focus of 1980s feminist art-historical scholarship, domesticity has since been eclipsed in feminist analysis by focus on corporeality, subjectivity and globalisation, amongst other significant concepts. This conference seeks to evaluate the intellectual and political gains, and potentially losses, to be made from investing once again in existing feminist theoretical frameworks, including the materialist, the psychoanalytical and the postcolonial. It also invites contributions framed by alternative or more recent modes of feminist enquiry, including those constituted through the framework of artistic practice itself. The sexual politics of domestic, artistic, and scholarly labour, productive agency, and the obedient or disobedient domestic imaginary might constitute one focus. However, these are by no means the only or defining parameters of this conference’s aim to engage with a feminist politics and practice of home making and unmaking since the late nineteenth century.
This conference is particularly timely in the light of art and art history’s ‘new’ domesticities. These include queer art history’s turn towards the domestic as a site for imagining, making and inhabiting space within or without the hetero-normative, and recent art-historical and curatorial projects focusing on modern and contemporary art practice and the home, but in which the question of feminism is downplayed in favour of more generalised concepts of subversion, labour and belonging. More broadly, the rise of the ‘new domesticity’ within popular culture continues to proliferate, such as the cult of the cupcake, knitting groups, home-baking television programmes and, more generally, 1950s ‘housewife’ design aesthetics. Contrast, for example, the discursive de-politicisation of today’s home-making in art and mass culture with the actively feminist domestic ambivalence of 1970s artistic practice, exemplified by Martha Rosler’s Semiotics of the Kitchen (1975) and Laurie Simmons’ Early Color Interiors (1978). Finally, we might remember that these new domesticities and today’s artistic and art-historical practices take place in spite of, and as a product of, ongoing global, domestic, social and economic inequalities, violence, and oppression, even in the so-called ‘post-feminist’ West.
This two-day conference invites proposals from art historians of up to 500 words for papers of 30 minutes. Proposals should be sent to Dr Francesca Berry (Department of Art History, Film and Visual Studies, University of Birmingham) at email@example.com and Dr Jo Applin (Department of History of Art, University of York) at firstname.lastname@example.org by Sunday 15th February 2015. Please also attach a brief biographical note and institutional affiliation.
The conference is supported by the University of Birmingham, the University of York, and Oxford Art Journal.
Hannah Halliwell reviews the Barber’s Degenerate Art exhibition…
The Degenerate Art exhibition at the Barber Institute (24 October 2014 – 11 January 2015) complements the current Rebel Visions exhibition on the War Art of CRW Nevinson, also at the Barber. The Degenerate Art exhibition explores and examines how and why artists’ work was censured, corrupted and de-valued by the Nazi regime during the 1930s, with the Barber’s own examples from celebrated artists such as George Grosz, Emil Nolde, Egon Schiele and Käthe Kollwitz. Entartete Kunst (Degenerate Art), was a term used by Nazis to dismiss virtually all modern art. It was also the title of an art exhibition put together by Adolf Hitler in 1937 which displayed a small percentage of confiscated art from recent decades (650 of 650,000 confiscated works were exhibited); the National Socialists rejected and censured virtually everything that had existed on the German modern art scene prior to 1933. I find this exhibition particularly fascinating in light of stories on the news which have appeared in recent years regarding the discovery of art which was previously deemed lost due to its confiscation by the Nazis (http://www.vanityfair.com/culture/2014/04/degenerate-art-cornelius-gurlitt-munich-apartment).
As can be seen in the above image, the Entartete Kunst was incredibly popular: its popularity has never been matched by another exhibition on modern art. Over two million people visited the exhibition whilst it was in Munich, before it toured Germany and its territories.
Hitler’s aim of the Entartete Kunst exhibition was to eradicate further production of various modernist art styles by clarifying for the German public what was unacceptable and thus “un-German”. The art was determined as such because it was seen as destabilising and undermining of the Nazi ideology of a pure and physically healthy Germany – any art which condemned the ‘ideal’ body, criticised the war, was anti-Christian or was remotely abstract was exhibited at the Entartete Kunst, confiscated and often unfortunately consequently destroyed. The Barber Institute is fortunate enough to own some surviving prints which were confiscated during the Nazi regime and exhibited at the Entartete Kunst.
I find this print particularly fascinating: the declaration of this work as ‘degenerate’ expresses the significance of the ideal body to the National Socialist Party – something which I have learned about since taking the third year module ‘The Body and Its Representations in Visual Culture’. The Nazi’s ideal female body was one which matched the idealised, classicised body of antiquity. Kollwitz’s female figure rejects the canonical and Nazi ideal of the ‘acceptable’ female body; this figure is muscular, naked and bound by raw emotion. The overtones of grief and desperation, presumably in response to the death of the woman’s son in the etching, were deemed to be critical of the Nazi regime, denouncing war and its injustice in society. It is thus clear to see why the Nazis would categorise such a work as ‘degenerate’ to their political agenda and regime.
This Schwitters print interested me because it is not obviously anti-Nazi, anti-Christian or explicit in anyway, and, in fact, by the time Hitler’s Entartete Kunst was opened all of Schwitters’ art work had been banned. So, why was this print determined to be ‘degenerate’? Produced in 1923, Merz V epitomises the anti-art aesthetic that defined Dadaism – the anti-war art movement which emerged in the inter-war period. Dadaism challenged the society’s ‘necessity’ of war, the bourgeoisie and the hierarchical nature of society, as well as promoting the movement’s pro-anti-art aesthetic. Schwitters’ political and known involvement in Dadaism, and its contrasting agenda to the speeches of Nazi party leaders, is most likely the reason Merz V was declared entartet (degenerate), though the print’s obvious abstract form and composition does also contribute to this.
A staggering 1,052 of Emil Nolde’s works, mostly of religious subject matter, were confiscated in 1937 and over 50 were shown at the Entartete Kunst, including The Prophet. Emil Nolde focussed on religion as his main topic, though his work was often accused of being blasphemous because of its humanist nature. The public were not accustomed to such raw images of biblical figures and the Nazi regime desired the gentle biblical image of the Italian and German Renaissance, thus determining such prints, like The Prophet, as degenerate. Here, Nolde does not idealise Christ – we are presented with a raw depressive emotion, implying Christ’s human mortality, not as the embodiment of God. The sorrowful expression on his face may also represent the suffering of millions after World War 1. In addition, Nolde was extremely popular during the Weimar Republic (pre-Nazi) which is perhaps another reason why the Nazi’s were so strongly against his work.
The ‘Degenerate’ Art exhibition at the Barber Institute is enlightening and the works that I have discussed here, along with the variety of others which I have not, are certainly worth the visit. It is extraordinary to learn how the visual arts – often a method used for freedom of expression – was condemned and censured under Nazi regime. As well as the defamation, segregation and extermination of people who did not fit or share ‘idealisation’ in Nazi Germany, it is fascinating to see how such extreme and discriminating views were transferred to the visual art world.
With 2014 marking the centennial, and many of these artworks produced in light of the First World War, it is great to see the Barber commemorating the art which was subsequently so condemned by the National Socialist Party. The ‘degenerate’ art shows us the contemporaneous views of artists in war-torn society, their views on bourgeois hierarchy, the expansion and dejection of religion and the body as non-idealised, as well as Adolf Hitler’s extraordinary dismissal of anyone, and thus anything, that did not fit his perceived ‘ideal’. The collection is a great reminder of our own freedom of expression in society today and of its progression since the Entartete Kunst.