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26 pages, 8245 KiB

Open AccessArticle

“Cemetery=Civilization”: Circus Wols, World War II, and the Collapse of Humanism

by Iveta Slavkova

Arts 2020, 9(3), 93; https://doi.org/10.3390/arts9030093 - 26 Aug 2020

Cited by 1 | Viewed by 4062

Circus Wols is a multimedia spectacle conceived by Wols during World War II at the Camp des Milles where he was interned between May and October 1940. As a German citizen, the artist was considered an enemy of France and Circus helped him [...] Read more.

Circus Wols is a multimedia spectacle conceived by Wols during World War II at the Camp des Milles where he was interned between May and October 1940. As a German citizen, the artist was considered an enemy of France and Circus helped him bear the harsh conditions of his imprisonment. Wols envisioned a show of high intellectual and aesthetic value that would employ advanced technology but remain accessible to the masses. As such, it is comparable to a utopian avant-garde total artwork. However, through its assumed incompletion and fragmentation, Circus Wols destabilized the ambitions of the avant-garde and modernism; it even went further, rejecting anthropocentrism. Shortly after his liberation from the camp, Wols began to claim that his art should not be considered a human creation. Prefigured by Circus Wols, the artist’s dismissal of European humanism as a valid social and cultural paradigm only grew after the war. His stance is best understood in relation to the contemporaneous notion of “abhumanism”, first theorized by playwright Jacques Audiberti, and embraced by Wols’s close friend, artist and poet Camille Bryen. The article argues that approaching Wols through the lens of abhumanism highlights the pressing historical concerns of his work, which, associated with post-war Parisian Abstraction, is usually depoliticized. Full article

(This article belongs to the Special Issue World War, Art, and Memory: 1914 to 1945)

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24 pages, 311 KiB

Open AccessArticle

Lancastrians, Tudors, and World War II: British and German Historical Films as Propaganda, 1933–1945

by William B. Robison

Arts 2020, 9(3), 88; https://doi.org/10.3390/arts9030088 - 10 Aug 2020

Cited by 1 | Viewed by 4726

Abstract

In World War II the Allies and Axis deployed propaganda in myriad forms, among which cinema was especially important in arousing patriotism and boosting morale. Britain and Germany made propaganda films from Hitler’s rise to power in 1933 to the war’s end in [...] Read more.

In World War II the Allies and Axis deployed propaganda in myriad forms, among which cinema was especially important in arousing patriotism and boosting morale. Britain and Germany made propaganda films from Hitler’s rise to power in 1933 to the war’s end in 1945, most commonly documentaries, historical films, and after 1939, fictional films about the ongoing conflict. Curiously, the historical films included several about fifteenth and sixteenth century England. In The Private Life of Henry VIII (1933), director Alexander Korda—an admirer of Winston Churchill and opponent of appeasement—emphasizes the need for a strong navy to defend Tudor England against the ‘German’ Charles V. The same theme appears with Philip II of Spain as an analog for Hitler in Arthur B. Wood’s Drake of England (1935), William Howard’s Fire Over England (1937), parts of which reappear in the propaganda film The Lion Has Wings (1939), and the pro-British American film The Sea Hawk (1940). Meanwhile, two German films little known to present-day English language viewers turned the tables with English villains. In Gustav Ucicky’s Das Mädchen Johanna (Joan of Arc, 1935), Joan is the female embodiment of Hitler and wages heroic warfare against the English. In Carl Froelich’s Das Herz der Königin (The Heart of a Queen, 1940), Elizabeth I is an analog for an imperialistic Churchill and Mary, Queen of Scots an avatar of German virtues. Finally, to boost British morale on D-Day at Churchill’s behest, Laurence Olivier directed a masterly film version of William Shakespeare’s Henry V (1944), edited to emphasize the king’s virtues and courage, as in the St. Crispin’s Day speech with its “We few, we proud, we band of brothers”. This essay examines the aesthetic appeal, the historical accuracy, and the presentist propaganda in such films. Full article

(This article belongs to the Special Issue World War, Art, and Memory: 1914 to 1945)

22 pages, 4568 KiB

Open AccessArticle

Teresa Żarnower’s Mnemonic Desire for Defense of Warsaw: De-Montaging Photography

by Maria Anna Rogucka

Arts 2020, 9(3), 84; https://doi.org/10.3390/arts9030084 - 28 Jul 2020

Viewed by 3161

Abstract

Teresa Żarnower (1897, Warsaw, Poland–1949, New York, United States), a Polish Constructivist artist of Jewish descent who was forced to emigrate abroad during World War II, became a dominant figure working for the Polish government in exile. She produced a series of photomontages [...] Read more.

Teresa Żarnower (1897, Warsaw, Poland–1949, New York, United States), a Polish Constructivist artist of Jewish descent who was forced to emigrate abroad during World War II, became a dominant figure working for the Polish government in exile. She produced a series of photomontages for a book titled The Defense of Warsaw, which was published in 1942 by a “Polish Labor Group” in New York. Żarnower used her technical expertise in photomontage to create new configurations of war photographs documenting Nazi Germany’s attack on Poland in 1939. She chose this shocking and politically loaded content to gain credibility and global attention for her work. Drawing on Benjamin Buchloh’s essay From Faktura to Factography, the aim of this study is to analyze the factographic paradigm in the usage of war photography and in the context of the esthetics of constructivist photomontage. The focus will lie on its mnemonic and archival functions, further highlighting the montage’s function as a key form of social memory model. Full article

(This article belongs to the Special Issue World War, Art, and Memory: 1914 to 1945)

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23 pages, 7851 KiB

Open AccessArticle

From Horrors Past to Horrors Future: Pacifist War Art (1919–1939)

by Lauren Jannette

Arts 2020, 9(3), 80; https://doi.org/10.3390/arts9030080 - 13 Jul 2020

Viewed by 4009

Abstract

In this paper, I argue that interwar pacifists working in France presented an evolving narrative of what the First World War represented in order to maintain support for their movement and a continued peace in Europe. Utilizing posters, photographs, pamphlets, and art instillations [...] Read more.

In this paper, I argue that interwar pacifists working in France presented an evolving narrative of what the First World War represented in order to maintain support for their movement and a continued peace in Europe. Utilizing posters, photographs, pamphlets, and art instillations created by pacifist organizations, I interject in ongoing debates over the First World War as a moment of rupture in art and pacifism in France, arguing that the moment of rupture occurred a decade after the conflict had ended with the failure of the Conference for the Reduction and Limitation of Armaments of 1932–1934 and the election of Hitler as the leader of a remilitarized Germany. Pacifist art of the 1920s saw a return to traditional motifs and styles of art that remembered the horrors of the past war. This return to tradition aimed to inspire adherence to the new pacifist organizations in the hopes of creating a new peace-filled world. The era of optimism and tradition ended with the economic and political crisis of the early 1930s, forcing pacifists to reconceptualize the images and styles of art that they utilized. Instead of relying on depictions of the horrors of the past war, these images shifted the focus to the mass civilian casualties future wars would bring in a desperate struggle to prevent the outbreak of another world war. Full article

(This article belongs to the Special Issue World War, Art, and Memory: 1914 to 1945)

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25 pages, 5048 KiB

Open AccessArticle

Walking with The Murderers Are Among Us: Henry Ries’s Post-WWII Berlin Rubble Photographs

by Vivien Green Fryd

Arts 2020, 9(3), 75; https://doi.org/10.3390/arts9030075 - 07 Jul 2020

Viewed by 5793

Abstract

Henry Ries (1917–2004), a celebrated American-German photojournalist, was born into an upper-class Jewish family in Berlin. He immigrated to the U.S. in 1938 to escape Nazi Germany. As a new American citizen, he joined the U.S. Air Force. After the war, Ries became [...] Read more.

Henry Ries (1917–2004), a celebrated American-German photojournalist, was born into an upper-class Jewish family in Berlin. He immigrated to the U.S. in 1938 to escape Nazi Germany. As a new American citizen, he joined the U.S. Air Force. After the war, Ries became photo editor and chief photographer for the OMGUS Observer (1946–1947), the American weekly military newspaper published by the Information and Education Section of the Office of Military Government for Germany (OMGUS). One photograph by Ries that first appeared in this newspaper in 1946, and a second, in a different composition and enlarged format, that he included in his 2001 autobiography, create significant commentaries on postwar Germany. The former image accompanies an article about the first post-WWII German feature film: Wolfgang Staudte’s The Murderers Are Among Us. The photograph moves from functioning as a documentation of history and collective memory, to an individual remembrance and personal condemnation of WWII horrors. Both reveal Ries’s individual trauma over the destruction of Berlin and the death of family members, while also conveying the official policy of OMGUS. Ries’s works embody a conflicted, compassionate gaze, conveying ambiguous emotions about judgment of Germans, precisely because of his own identity, background and memories. Full article

(This article belongs to the Special Issue World War, Art, and Memory: 1914 to 1945)

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17 pages, 4207 KiB

Open AccessArticle

Practices of Remembrance: The Experiences of Artists and Curators in the Centenary Commemoration of World War I

by Katherine Isobel Baxter

Arts 2020, 9(2), 59; https://doi.org/10.3390/arts9020059 - 13 May 2020

Viewed by 2798

Abstract

The centenary of World War One was marked in the UK by an unprecedented national investment in the creative arts as a vehicle for remembrance. This scale of funding for commemorative arts, not least under a government whose mantra had been economic “austerity”, [...] Read more.

The centenary of World War One was marked in the UK by an unprecedented national investment in the creative arts as a vehicle for remembrance. This scale of funding for commemorative arts, not least under a government whose mantra had been economic “austerity”, demonstrates the importance that the nation-state placed on remembrance and on engaging the public in acts of memory through the arts. In the aftermath of the centenary, funding bodies have commissioned evaluations of this programming. These evaluations have focused on audiences reached, organisations benefitted, and social transformation. What remain occluded by the reports are the experiences of the artists themselves and the curators with whom they worked. In this article I explore the personal and affective experiences of several artists and curators whose work contributed to this national programme of remembrance. I ask: to what extent did artists and curators consciously engage with prior artistic responses to World War One? How did the context of collective commemoration and memory-making inform their practice and the works produced? What did their involvement in this programme of national remembrance make them feel? What were the narratives of the war they wanted to tell? To begin to answer these questions, I draw on a series of one-to-one interviews conducted with a number of artists and curators who were involved in commemorative projects in the UK and overseas. Full article

(This article belongs to the Special Issue World War, Art, and Memory: 1914 to 1945)

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25 pages, 4568 KiB

Open AccessArticle

View Magazine and the Mass Visual Culture of World War II

by Gregory Gilbert

Arts 2020, 9(2), 41; https://doi.org/10.3390/arts9020041 - 26 Mar 2020

Viewed by 5373

Abstract

Shortly after the bombing of Pearl Harbor in December of 1941, the American government impressed upon the media industry and corporate advertising the cooperative need to boost morale and enlist nationalist support for the war effort. Public opinion was shaped through an active [...] Read more.

Shortly after the bombing of Pearl Harbor in December of 1941, the American government impressed upon the media industry and corporate advertising the cooperative need to boost morale and enlist nationalist support for the war effort. Public opinion was shaped through an active campaign of visual propaganda and media censorship in which the social trauma of war, in particular, representations of death and destructive disorder, was erased from official news reports. However, avant-garde art and writing in View magazine during the early 1940s can be analyzed as a radical form of counter-discourse that challenged the media’s representation of the war. View had been founded in 1940 by the poet Charles Henri Ford, who vowed to create a magazine devoted to what he called the “new journalism”, a form of international reporting by poets and visual artists that would provide visionary critical insight on the forthcoming political catastrophe in Europe. Lacking their own publishing forum, a number of Surrealist émigrés and American adherents of Surrealism gravitated towards View. As this article will examine, Surrealist imagery and prose in View evoked a profound sense of the bodily trauma and physical destruction omitted from mass media, subverting the government’s highly sanitized and ideologically manipulated representations of World War II. Full article

(This article belongs to the Special Issue World War, Art, and Memory: 1914 to 1945)

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20 pages, 4643 KiB

Open AccessArticle

The Artist as Soldier: Howard Cook’s Self-Portrait in a Foxhole

by Sara Woodbury

Arts 2020, 9(1), 37; https://doi.org/10.3390/arts9010037 - 10 Mar 2020

Viewed by 4154

Abstract

In the summer of 1943, Taos artist Howard Cook (1901–1980) traveled to the South Pacific to serve as a correspondent in the U.S. Army’s short-lived War Art Unit. During his assignment, Cook produced hundreds of sketches documenting the daily lives of Allied soldiers [...] Read more.

In the summer of 1943, Taos artist Howard Cook (1901–1980) traveled to the South Pacific to serve as a correspondent in the U.S. Army’s short-lived War Art Unit. During his assignment, Cook produced hundreds of sketches documenting the daily lives of Allied soldiers working there; yet, one group stands out for its subject matter: the artist himself. Collectively titled Self-Portrait in a Foxhole, these works depict Cook taking shelter during an air raid and, together with his writings, offer an invaluable perspective into his interpretation of war through art. This essay explores Cook’s wartime oeuvre by examining the Self-Portrait group’s depiction of vulnerability. Through an expressionistic use of ink and paint and a compositional emphasis on his passivity, Cook offers a personalized interpretation of combat conditions that underscores his sense of exposure. Although his self-representation initially appears distinct from the more assertive soldiers in his other sketches, when viewed together, they collectively demonstrate Cook’s efforts to record a nuanced impression of the war, reflecting a broader tradition of exploring war’s deleterious effects on soldiers. More broadly, Cook’s oeuvre highlights the significance of the War Art Unit and the potential for more scholarship on this initiative. Full article

(This article belongs to the Special Issue World War, Art, and Memory: 1914 to 1945)

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17 pages, 3324 KiB

Open AccessArticle

Käthe Kollwitz: Memorialization as Anti-Militarist Weapon

by Ann Murray

Arts 2020, 9(1), 36; https://doi.org/10.3390/arts9010036 - 10 Mar 2020

Viewed by 11990

Abstract

This essay explores Käthe Kollwitz’s antiwar graphic work in the context of the German, and later, international No More War movement from 1920 to 1925, where it played an important role in antimilitarist campaigns, exhibitions, and publications, both in Germany and internationally. Looking [...] Read more.

This essay explores Käthe Kollwitz’s antiwar graphic work in the context of the German, and later, international No More War movement from 1920 to 1925, where it played an important role in antimilitarist campaigns, exhibitions, and publications, both in Germany and internationally. Looking at Kollwitz’s production closely, we discover a deeply pragmatic artistic strategy, where the emotionality of Kollwitz’s famed prints was the result of tireless technical, formal, and compositional investigation, contrived to maximize emotional impact. By choosing the easily disseminated medium of printmaking as her main vehicle and using a deliberately spare but powerful graphic language in carefully chosen motifs, Kollwitz intended her art to reach as broad an audience as possible in engaging antiwar sentiment. In connection with the leading antiwar voices of the time, including French Nobel Prize-winning writer Romain Rolland and the founder of War Resisters’ International, Helene Stöcker, she deployed her work to reach beyond the confines of the art gallery, into internationally distributed posters, periodicals, and books. Full article

(This article belongs to the Special Issue World War, Art, and Memory: 1914 to 1945)

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