Podcasts about degenerate art

Shows opening in Washington and Dublin this month explore quiltmaking by African American women. Ben Luke talks to Raina Lampkins-Fielder, chief curator for the Souls Grown Deep Foundation, and the organiser of the exhibition Kith & Kin: The Quilts of Gee's Bend at the Irish Museum of Modern Art (IMMA), about the history of quiltmaking in this small part of Alabama, and the growing recognition of its artistic importance. The Musée Picasso in Paris this week unveiled its exhibition “Degenerate” art: Modern art on trial under the Nazis, which looks back not just at the infamous 1937 exhibition in Munich but also the years-long campaign to attack modern art and artists in Germany in the 1930s and 1940s. We speak to the exhibition's co-curator, Johan Popelard. And this episode's Work of the Week marks the death last week of Mel Bochner, a leading figure in the development of conceptual art. We speak to his gallerist, Peter Freeman, who knew and worked with Bochner for more than 50 years. We look in particular detail at the 1969 work, 48" Standards (#1).Last chance: The Art Newspaper's book The Year Ahead 2025, an authoritative guide to the year's unmissable art exhibitions, museum openings and significant art events, is available to buy at theartnewspaper.com for £14.99 or the equivalent in your currency, until Sunday, 23 February. Buy it here. https://account.theartnewspaper.com/subscribe?sourcecode=year_ahead&utm_source=podcast&utm_campaign=theyearaheadKith & Kin: The Quilts of Gee's Bend, IMMA, the Irish Museum of Modern Art, Dublin, from 28 February-27 October; We Gather at the Edge: Black Women and Contemporary Quilts, Renwick Gallery, Smithsonian American Art Museum, Washington, DC, 21 February-22 June; Fabric of a Nation: American Quilt Stories, Frist Art Museum, Nashville, US, 27 June-12 October“Degenerate” art: Modern art on trial under the Nazis, Musée Picasso, Paris, until 25 May. Hosted on Acast. See acast.com/privacy for more information.

Actress and author Julianne Moore says it was a "great shock" to hear that her children's book "Freckleface Strawberry" was among those removed from some American public schools, after an executive order from President Donald Trump saw a long list of titles confiscated for review. Olivia Salazar-Winspear explains what the current US administration sees as cause for concern in children's literature. We also take a look at a new exhibition recreating the "Degenerate Art" scene of the 1930s, when the Nazi party sought to demonise avant-garde painters like Marc Chagall, Paul Klee, Otto Dix and Pablo Picasso, as the Picasso museum in Paris presents these major works of modern art in a contemporary context. Plus we hear from debut filmmaker and actress Ariane Labed, as she explores the complex dynamic between two sisters who are a little too close for comfort in her gothic-tinged feature "September Says".

Michael Pearce is a writer, painter, teacher and curator, as well as the founder of The Representational Art Conference (TRAC). His book "Kitsch, Propaganda and the American Avant-Garde" uncovers one thing Lenin, Hitler and Roosevelt had in common: A keen eye for art as state propaganda. Avoiding the old-fashioned vs modern dichotomy, Pearce shows the cultural historical roots of employing both figurative and abstract painting to further political correctness. Pearce traces it back to 19th century socialist thinking, and goes in-depth on the ideas of philosophers like Proudhon and Saint-Simon, as well as the protests of Emile Zola. First and foremost, however, he shows how the the American government and a few wealthy families made Avant-garde art into the preferred art form of the 20th century, casting it as the antidote to the sentimentality of kitsch.

Support the show

Winnie Sze and Pim Arts, curators at the Cobra Museum of Modern Art in the Netherlands, carve out the connections between Dutch, Danish, and South African artists like Ernest Mancoba, and see how African masks and sculptures, encountered in European museums, shaped abstract-surrealism in the 20th century. Cobra - Copenhagen, Brussels, Amsterdam - were three cities at the core of a pan-European political art movement, calling for freedom and common humanity in the wake of World War II. Drawing on cubism, expressionism, and surrealism, they shared Pablo Picasso's attraction to African masks and sculpture. Yet, they worked between abstract and figurative art, some seeking to escape the exotification, othering, and orientalism of movements past. Born in British-colonial South Africa in 1904, Ernest Mancoba didn't ‘come into contact' with African sculpture as art until he travelled to ethnographic and colonial museums in Paris and London. Along with artists like Sonia Ferlov and Egill Jacobsen, he became a leading figure in collaborative movements like Linien (The Line) and Helhesten (Hell Horse), based in Denmark. Winnie Sze and Pim Arts curate two of three exhibitions celebrating 75 years of the Cobra art movement (1948-1951), which focus on Scandinavia. They detail the differences between African and Western sculpture, how Danish artists used satire and Degenerate Art in acts of resistance against the Nazi Empire, and why Denmark has been othered in the history of avant-garde art. The three exhibitions of Cobra 75: Danish Modern Art run at the Cobra Museum of Modern Art in the Netherlands until 14 May 2023. For more, you can also read my review of Cobra 75 in gowithYamo: https://www.gowithyamo.com/blog/a-triptych-of-danish-modernism-cobra-and-degenerate-art-in-denmark. WITH: Pim Arts, curator of We Kiss the Earth - Danish Modern Art 1934-1948. Winnie Sze, curator of Je est un autre: Ernest Mancoba and Sonja Ferlov. Both exhibitions are part of Cobra 75: Danish Modern Art. ART: Works from ‘We Kiss the Earth: Danish Modern Art, 1934-1948'. IMAGE: Peter Tijhuis. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES at: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

85 years ago, a groundbreaking art exhibition was held in Munich. It showcased the work of 120 artists, many of these internationally renowned modernists. The show was attended by one million people in its first six weeks. But this landmark show, while one-of-a-kind, is not something to be celebrated. Entartete Kunst (‘Degenerate Art') was organized at the behest of Adolf Hitler, under Joseph Goebbels' Ministry of Propaganda, to showcase works of art that “undermined” the ideals of the Nazi regime. The term ‘degenerate' is making a comeback in contemporary discussions of non-traditional art and culture. The sinister undertones associated with the term could easily be missed by this generation, but to label subversive art forms ‘degenerate' is a dangerous act. Today on Art of History, we unpack how the term was weaponized, sometimes literally, against avant-garde artists in Hitler's Reich. ______ New episodes every month. Let's keep in touch! Email: artofhistorypod@gmail.com Patreon: https://www.patreon.com/matta_of_fact Instagram: @artofhistorypodcast Twitter: @ArtHistoricPod TikTok: @artofhistorypod // @matta_of_fact Learn more about your ad choices. Visit megaphone.fm/adchoices

To view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2022]

Episode: 2309 Today, broken brushes.  Brushes broken by people whose eyes will not see.

To learn more, please visit the website for Scientific Analysis of Fine Art, LLC.Show Notes:0:01 use of scientific methods in London and Berlin to understand and preserve cultural heritage since 19th Century 2:30 history of cultural heritage science 4:00 founding Scientific Analysis of Fine Art LLC (SAFA) 5:40 Yves Tanguy's Fraud in the Garden5:50 catalogue raisonné prepared by art historians Charles Stuckey and Stephen Mack6:10 fascist attack during screening of Luis Bunuel's satiric “L'Age d'Oro” 7:00 use of multi-spectral imaging on Fraud in the Garden included ultraviolet light and infrared radiation, and x-rays to view slash pattern on painting7:45 multiple restorations on Fraud in the Garden dated through the pigments and paint binders9:00 value of artwork as historical documents versus restoration of the artwork 9:45 cultural heritage as historical documents example of Victoria & Albert Museum10:45 display of the Rothko Murals at Harvard by projecting original color on faded paintings11:45 analysis for attribution questions varies between antiquities, paintings, decorative art objects13:20 non-destructive drive for protocols for elemental and molecular analysis14:00 changes to work by Van Gogh and Met's Irises and Roses exhibit on this14:30 geranium lake known as Eosin red15:00 paints like cadmium yellows and chromium yellows created during the Industrial Revolution are also very sensitive to light and relative humidity15:15 changes in Matisse's 4 versions of Joy of Life – yellows fading to ivory white15:30 mechanism of degradation 16:20 Picasso's 1901 The Blue Room 17:30 Cezanne18:15 analysis of over 900 tubes of paint from Munch19:30 paints standardized in 1920s 21:00 flaking of zinc white: reaction of zinc oxide with oil creates crystalized molecules - zinc soaps21:25 titanium white 23:00 heavy metal pigment paints that strongly absorb x-rays like lead white or vermillion (a mercury sulfide red) prevent seeing under-painting24:45 head of the scientific vetting committee for TEFAF New York 27:15 Court of Arbitration for Art 28:35 trusting science to conduct due diligence 30:30 stigma  attached to use of science 33:00 Bard Graduate Center34:00 wooden polychrome sculpture analysis: dendrochronology and radiocarbon dating36:00  dirty dozen paint list36:45 mixing drying oil paints (linseed) with non-drying oil paints (sunflower)37:50 Eosin red, emerald green, cadmium yellow, chromium yellow, vermillion, copper blues  38:50 favorite paintings 39:10 Modigliani Collection at the Barnes 39:45 Modigliani's palette 40:35 The Burlington Magazine 41:10  Klimt's Faculty Paintings 42:30 computational technologies to bring lost work back to life43:00 facilitating justice43:45 invention of photography enabled Jacob Riis to document New York slums 44:00 20th Century photographer and sociologist Lewis Hine44:20 BLM movement44:30 environmental justice issues 45:40 recommendations to pursue cultural heritage science 46:55 legacy to create scientific literacy for art conservators and historiansTo view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2022]

Join us for a conversation with filmmaker David Grubin and host Michael Lerner. This in person conversation followed a special screening of David's film Free Renty: Lanier v. Harvard at Commonweal. David Grubin, Free Renty, Director/Producer David is a director, writer, producer, and cinematographer whose films range across history, art, poetry, and science, winning every major award in his field, including two Alfred I. Dupont awards, three George Foster Peabody prizes, five Writer's Guild prizes, and ten Emmys. His films include The Trials of Robert Oppenheimer, The Buddha, Abraham and Mary Lincoln: A House Divided; LBJ; Truman; TR: The Story of Theodore Roosevelt; FDR, The Secret Life of the Brain, The Jewish Americans, Kofi Annan, Center of the Storm, Tesla, The Mysterious Human Heart, Language Matters with Bob Holman, Degenerate Art, In the Beginning Was Desire, Healing and the Mind with Bill Moyers - Wounded Healers.

Did Wassily Kandinsky really invent abstract art? Randall takes Chris on a journey with many twists and turns.  *** Download slides: https://mega.nz/file/J9tGTQAC#5Oa99t7-pxmdxowHcq0pe5i5nSpKYg-Gns1MXlJtovc *** Topics discussed include:  the first abstract painting Wassily Kandinsky Hilma af Klint Helena Blavatsky automatic drawing Rudolf Steiner The Ten Largest Theosophy Sigmund Freud Adolf Hitler and the Nazis Bauhaus school Georgiana Houghton Albert Einstein the birth of the modern world *** Timeline: 1859 -- Georgiana Houghton starts making "spirit" drawings at seances 1862 -- Hilma af Klint born 1863 -- Salon des Refusés  1871 -- Houghton pays for a show in London 1874 -- Impression, Sunrise by Monet 1875 -- Helena Blavatsky cofounds the Theosophical Society, as "the synthesis of science, religion and philosophy", proclaiming that it was reviving an "Ancient Wisdom" which underlay all the world's religions.  1880 -- Hilma's 10-year-old sister dies, spurring her interest in the occult 1882 -- Hilma af Klint enrolled in Sweden' s Royal Academy of Fine Arts.  1884 -- Georgiana Houghton dies 1887 -- Hilma af Klint graduates with honors, awarded use of shared studio until 1909. Here she paints first 100 or so Paintings For the Temple.  1888 -- The Five is founded 1895 -- X-rays discovered 1895 -- Sigmund Freud publishes one of his first books, Studies on Hysteria 1896 -- Radio waves discovered, first radios 1900 1896 -- radioactivity discovered 1896 -- Hilma experiments with automatic drawing. was participating in weekly seances with The Five. * Through her work with The Five, Hilma af Klint created experimental automatic drawing as early as 1896, leading her toward an inventive geometric visual language capable of conceptualizing invisible forces both of the inner and outer worlds.[citation needed] She explored world religions, atoms, and the plant world and wrote extensively about her discoveries.[5] As she became more familiar with this form of expression, Hilma af Klint was assigned by the High Masters to create the paintings for the "Temple" – however she never understood what this "Temple" referred to.  Hilma af Klint felt she was being directed by a force that would literally guide her hand. She wrote in her notebook:  The pictures were painted directly through me, without any preliminary drawings, and with great force. I had no idea what the paintings were supposed to depict; nevertheless I worked swiftly and surely, without changing a single brush stroke.[14] * 1903 -- Kandinsky paints the Blue Rider 1904 -- Hilma af Klint joins Theosophical society 1904 -- Hilma af Klint was informed by spirit guides a great temple should be built and filled with paintings.  1905 -- Albert Einstein publishes his 4 seminal papers: photoelectric effect, Brownian motion, special relativity, and the equivalence of mass and energy. 1906 -- Klint begins automatic painting https://www.nytimes.com/2019/10/21/travel/stockholm-hilma-af-klint.html * led by a spiritual guide named Amaliel who contacted af Klint during séances and not only “commissioned” the paintings but, at least at the outset, had, she claimed, directed her hand as she painted. “The pictures were painted directly through me, without any preliminary drawings and with great force,” af Klint wrote in one of her journals of the 193 mostly abstract works known as “The Paintings for the Temple,” meditations on human life and relationships in the most elemental terms. “I had no idea what the paintings were supposed to depict, nevertheless I worked swiftly and surely without changing a single brush stroke.”  * https://www.bbc.com/culture/article/20181012-hilma-af-klint-the-enigmatic-vision-of-a-mystic Absorbing a wide array of cultural influences old and new – from Goethe's colour theories to Darwin's discoveries concerning evolution, from Car Linnaeus's botanical taxonomies to cutting-edge ideas about atomic matter and radioactivity – Af Klint set about composing for posterity an alluring eye-music that echoed back the complex psyche of her age.  * 1907 -- De Fem finishes The Ten Largest 1908 -- Hilma meets Rudolf Steiner * In 1908 af Klint met Rudolf Steiner for the first time. In one of the few remaining letters, she was asking Steiner to visit her in Stockholm and see the finished part of the Paintings for the Temple series, 111 paintings in total. Steiner did see the paintings but mostly left unimpressed, stating that her way of working was inappropriate for a theosophist. According to H.P. Blavatsky, mediumship was a faulty practice, leading its adepts on the wrong path of occultism and black magic.[18] However, during their meeting, Steiner stated that af Klint's contemporaries would not be able to accept and understand their paintings, and it would take another 50 years to decipher them. Of all the paintings shown to him, Steiner paid special attention only to the Primordial Chaos Group, noting them as "the best symbolically".[19] After meeting Steiner, af Klint was devastated by his response and, apparently, stopped painting for 4 years. Interestingly enough, Steiner kept photographs of some of af Klint's artworks, some of them even hand-coloured. Later the same year he met Wassily Kandinsky, who had not yet come to abstract painting. Some art historians assume that Kandinsky could have seen the photographs and perhaps was influenced by them while developing his own abstract path.[20] Later in her life, she made a decision to destroy all her correspondence. She left a collection of more than 1200 paintings and 125 diaries to her nephew, Erik af Klint. Among her last paintings made in 1930s, there are two watercolours predicting the events of World War II, titled The Blitz and The Fight in the Mediterranean.[21]  * https://www.theguardian.com/artanddesign/2016/feb/21/hilma-af-klint-occult-spiritualism-abstract-serpentine-gallery In 1908, after making 111 paintings, she collapsed: “She had completed a painting every third day – including the 10 huge ones. She was exhausted.” And there was further reason for despond. That same year, Steiner was lecturing in Stockholm. She invited this charismatic man to see her paintings (Mondrian petitioned Steiner too, but always in vain). She had hoped he would interpret the work. Instead he advised: “No one must see this for 50 years.” For four years after this verdict she gave up painting and looked after her sightless mother. Johan shows me a photograph of Hilma at Hanmora, looking down with tenderness, a hand on her mother's shoulder – the more sympathetic of clues to her character.  * 1910 -- first abstract by Kandinsky 1919 -- Bauhaus school founded 1923 -- Hilma writes Steiner asking him what she should do, "burn them?" She never hears back. 1925 -- Rudolf Steiner dies 1928 -- Theosophy reaches peak membership 1930s -- While studies, sketches, and improvisations exist (particularly of Composition II), a Nazi raid on the Bauhaus in the 1930s resulted in the confiscation of Kandinsky's first three Compositions. They were displayed in the State-sponsored exhibit "Degenerate Art", and then destroyed (along with works by Paul Klee, Franz Marc and other modern artists)  1932 -- Hilma af Klint's last will. In  will, Hilma keaves 1200 paintings, 26,000 pages of notes (125 notebooks), not to be shown until 20 years after her death. 1933 -- Hitler appointed chancellor of Germany 1944 -- Hilma dies of car accident. She was 82. Also Kandinsky (77), Mondrian (pneumonia, 71) 1970s -- Johan af Kilnt offers works to the Moderna Museet, they refuse. The then-director turned them down. “When he heard that she was a medium, there was no discussion. He didn't even look at the pictures.” Only in 2013 did the museum redeem itself with a retrospective. https://www.theguardian.com/artanddesign/2020/oct/06/hilma-af-klint-abstract-art-beyond-the-visible-film-documentary 1985 -- Hilma's work discovered. Distant relative of Klint finds paintings just hanging on walls of theosophical society.  1986 -- Hilma af Klint show: The Spiritual in Art, Abstract Painting 1890-1985  2013 -- Hilma af Klint Moderna Museet Stockholm show: perhaps their most popular in history 2019 -- Hilma af Klint Guggenheim show: may have been it's most popular 2020 -- Beyond the Visible: Hilma af Klint documentary *** recorded April 21, 2022 *** Visit us at https://chrisandrandall.com/

When the Nazi Party came to power in Germany, in 1933, one of their first goals was to reshape culture by force. The Nazis organized book burnings, stormed artist studios, confiscating work they disagreed with, and fired contemporary artists from teaching positions in universities. The goal was to place limits on human expression–an ominous display for what was to come. Visit the companion gallery for this episode here: https://mjdorian.com/dangerous/ The celebrated 1800's German poet, Heinrich Heine, wrote: "where books are burned, there too, people will burn." On this episode, we explore the Degenerate Art Exhibition of 1937, otherwise known as Entartete Kunst. The intended goal of the exhibit was to insult and ridicule the featured artists and kill modern art. Making it clearly known to the German public that the Nazi Party was forbidding any form of abstraction in painting, film, sculpture, or music. The suppression or censorship of art is a symptom that something is desperately wrong in the cultural fabric of a society. What happened to the artists featured in the exhibition? Did they continue making art? Did they flee or stay and protest? Why is art so dangerous? --------- Artists featured in this episode: Otto Dix, Max Beckmann, Ernst Ludwig Kirchner, Emil Nolde, and Conrad Felixmüller. Explore their work in this special companion gallery I put together: https://mjdorian.com/dangerous/ --------- If you'd like to become a supporter of CREATIVE CODEX, and obtain access to all the exclusive content, such as the Kurt Cobain series and all the Creativity Tip episodes, head on over to: https://www.patreon.com/mjdorian --------- All music in this episode was produced & composed by MJDorian. --------- Creative Codex is written and produced by MJDorian. More info here: https://mjdorian.com/ Instagram: https://www.instagram.com/mjdorian/ Twitter: https://twitter.com/mjdorian YouTube: https://www.youtube.com/creativecodex

At the end of the First World War, the German doctor Hans Prinzhorn began collecting the paintings, drawings and sculpture of psychiatric patients. Their work inspired a generation of modernists including Max Ernst, Paul Klee and Salvador Dali, but when Hitler came to power the Prinzhorn artists were caught up in the Führer's war against 'degenerate' humans.

Join our Discord at https://discord.gg/9aGZbctUeuContact us at imbibeinanime@gmail.comWatch us live and see our VODs at twitch.tv/iiamotsterMusic Credit:  Funkorama by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/3788-funkoramaLicense: http://creativecommons.org/licenses/by/4.0/Design Credit:  Album art and character designs by Frost Fire.  

Betsy Wurzel's guest is Charles Dellheim, Professor of History at Boston University. Charles Dellheim is the Author of Belonging and Betrayal, How Jews Made the Art World Modern.  Charles  Dellheim discusses why he wrote Belonging and Betrayal, How Jews Made the Art World Modern, and what he would like the reader to take away from this book. Charles discusses how the Jewish people never were fully accepted in the art world and what the Nazis did to their art!  Charles also talks about how the Jewish people were treated by the Nazis and describe " Degenerate Art" as a term used by the Nazi Party

“The cultural impact of World War I, and the Nazi war against the Jews”. Betsy Wurzel's guest is Charles Dellheim, Professor of History at Boston University. Charles Dellheim is the Author of Belonging and Betrayal, How Jews Made the Art World Modern. Charles Dellheim discusses why he wrote Belonging and Betrayal, How Jews Made the Art World Modern, and what he would like the reader to take away from this book. Charles discusses how the Jewish people never were fully accepted in the art world and what the Nazis did to their art! Charles also talks about how the Jewish people were treated by the Nazis and describe ” Degenerate Art” as a term used by the Nazi Party For more information: https://bit.ly/3chQFPP Learn more about your ad choices. Visit megaphone.fm/adchoices

Betsy Wurzel's guest is Charles Dellheim, Professor of History at Boston University. Charles Dellheim is the Author of Belonging and Betrayal, How Jews Made the Art World Modern.  Charles  Dellheim discusses why he wrote Belonging and Betrayal, How Jews Made the Art World Modern, and what he would like the reader to take away from this book. Charles discusses how the Jewish people never were fully accepted in the art world and what the Nazis did to their art!  Charles also talks about how the Jewish people were treated by the Nazis and describe " Degenerate Art" as a term used by the Nazi Party

“The cultural impact of World War I, and the Nazi war against the Jews”.Betsy Wurzel's guest is Charles Dellheim, Professor of History at Boston University. Charles Dellheim is the Author of Belonging and Betrayal, How Jews Made the Art World Modern. Charles Dellheim discusses why he wrote Belonging and Betrayal, How Jews Made the Art World Modern, and what he would like the reader to take away from this book. Charles discusses how the Jewish people never were fully accepted in the art world and what the Nazis did to their art! Charles also talks about how the Jewish people were treated by the Nazis and describe ” Degenerate Art” as a term used by the Nazi PartyFor more information: https://bit.ly/3chQFPP

Journalist and author Charlie English shares the story of a remarkable collection of artworks by psychiatric patients in Weimar Germany and also explores the devastating impact of Nazism on modernist art and people with mental illnesses. (Ad) Charlie English is the author of The Gallery of Miracles and Madness: Insanity, Art and Hitler's first Mass-Murder Programme (William Collins, 2021). Buy it now from Amazon: https://www.amazon.co.uk/Gallery-Miracles-Madness-Charlie-English/dp/0008299625/?tag=bbchistory045-21&ascsubtag=historyextra-social-hexpod See acast.com/privacy for privacy and opt-out information.

Jack from Bad Books for Bad People joins us to pay tribute to art that isn't here to teach right from wrong—what some might call degenerate art. The post In Defense of Degenerate Art by Matt Keeley appeared first on Kittysneezes.

Jack from Bad Books for Bad People joins us to pay tribute to art that isn't here to teach right from wrong—what some might call degenerate art. The post In Defense of Degenerate Art by Matt Keeley appeared first on Kittysneezes.

At the end of the First World War, the German doctor Hans Prinzhorn began collecting the paintings, drawings and sculpture of psychiatric patients. Their work inspired a generation of modernists including Max Ernst, Paul Klee and Salvador Dali, but when Hitler came to power the Prinzhorn artists were caught up in the Führer's war against 'degenerate' humans.

In 1937, Hitler signed-off on a massive exhibition of confiscated so-called Degenerate Art. The some 600 works represented some of the finest artists from Germany and beyond (all despised by the Nazis) working in various mediums of modern art. In a somewhat hilarious twist of fate, the exhibition proved to be one hell of a back-handed compliment. Kunst Please is a micro-dose of modern art history. An exploration into the more unexpected side of modern and contemporary art, featuring stories of the famous and the infamous, the weird and the wonderful, the unheard, the cult, the criminally overlooked and the criminally insane. Created and produced by Jonathan Heath. Follow the gallery space on Instagram @kunstplease Check out show-notes and assorted ephemera at kunstpleasepod.medium.com/

WARNING: This episode discusses some offensive and politically charged material. For people who would like to avoid the guess-work The Whole Rabbit, despite our bizarre sense of humor, is aligned strongly to the values of liberty and inclusion. We discuss how aesthetics is an important component of fascist movements which weaponizes beauty and cultural norms to commit violence against those who do not conform with its narrow ideas. If that sounds like too messy of a topic for you today we suggest maybe going to a jazz club, burlesque or museum near you.Break out your canvas, hot dog water and some yellow paint made of mustard and possum tears because this week we are going deep into the world of Modern Art, the CIA's involvement in proliferating it and what it all has to do with the evils of fascism.On this episode we discuss:-Origins of Modern Art-Escape Rooms-David Bowie's on Fascism-Thelema and Mainstream Religion-The Importance of Cultural Diversity in Art-Hip Hop-Videogames and Abstraction-The Aesthetics of Evil-The “Degenerate Art” display-The Great German Art Exhibition-Adolf's Art School Rejection-A Clockwork Orange-Laibach and Wendy Carlos-How Fascism uses Aesthetic-The SwastikaIn the extended episode available at http://www.Patreon.com/TheWholeRabbit we discuss:-Art movements in pre-Nazi Germany-Piss Christ-The Vietnam Wall-Federal Building Mandates-Who's afraid of Red, Yellow and Blue-CIA Modern Art Psyop-My Little Pony Jar-The Big Bad Wolf-German Expressionism and Star Wars-Disney Antisemitism-Thanking France for the Statue of LuciferSpecial thanks to j4ckrabbit, Heka Astra for contributing exquisite research and notes which benefited the episode.Where to find The Whole Rabbit:Online Emporium: https://shop.spreadshirt.com/thewholerabbit/Stickers, t-shirts, hoodies and more!Twitter: https://twitter.com/1WholeRabbitLet's get the conversation started!Spotify: https://open.spotify.com/show/0AnJZhmPzaby04afmEWOAVThe best place for ALL devices.Instagram: https://www.instagram.com/the_whole_rabbit_/Like, subscribe and comment to see all our weird artsy stuff.Sources:Piss Christhttp://100photos.time.com/photos/andres-serrano-piss-christWhy David Bowie can't be on Twitter:https://www.snopes.com/fact-check/rock-star-david-bowie/Big Bad Wolf:https://jewishweek.timesofisrael.com/when-disney-cancelled-an-anti-semitic-cartoon-character/Modern Art was CIA weapon:https://www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.htmlArt in Nazi Germany:https://en.wikipedia.org/wiki/Degenerate_Art_Exhibitionhttps://en.wikipedia.org/wiki/Art_in_Nazi_GermanyWho's Afraid of RedSupport the show (https://www.patreon.com/thewholerabbit)

A jealous angry artist got this guy Goebbels to collect all the artwork from all the German museums and create The Degenerate art show (Entartete Kunst). The first display was composed of over 600 artworks including artists, Pablo Picasso, Wassily Kadinsky, Ernst Ludwig Kirchner, Emil Nolde, and other major artists of the 20th century were displayed with paintings by psychotic patients and were subjected to vicious ridicule by the press and the German people. They estimated over a million visitors in the 1st month. Enjoy the show! thanks a million #handsinalottasoups #whogetstocallitart #contemporaryary #Propoganda #warisdumb #EntarteteKunst #stolenart #arthistory #crazyworld Thanks for listening !!!!!!! Let us know what you think! gooderguysradio@gmail.com https://www.instagram.com/gooderguysradio/ https://www.facebook.com/GooderGuys https://twitter.com/GooderGuysRadio --- Send in a voice message: https://anchor.fm/the-gooder-guys/message

In this interview we talk to Aaron aka Marble Slinger.  Slinger is a renowned glass artist, pipe maker, cannabis activist, as well as a filmmaker.  His film Degenerate Art documented the evolution of the glass pipe making movement, it's community and it's evolution through 2012.  We also discuss cannabis, glass, Phish tours, the early days of dabbing, Bubbleman & much more.

In this Artpop Talk with Anna Blake, a freelance arts writer and account holder of but_is_it_art on TikTok, we discuss a video of Anna's that went viral, stirring confusion on why Pablo Picasso is considered "overrated" between feminist and fascists. Anna elaborates on her TikTok by discussing the Die Ausstellung “Entartete Kunst” or Degenerate Art as called by the nazi party and we dive into a larger conversation about "accountability" and Cancel Culture within the arts.Follow Anna's TikTok account HERE!https://ruckusjournal.org/

第四十七課：When Art Gets Political 藝術，亦如音樂，也難逃政治力涉入。政治的獨裁，可以決定美的定義；政治的壓迫，足以斷送藝術家的前程；但對政治的反動，卻能激發出前所未見的創造力。若非泛政治，有形無形成為影響藝術創作的元素之一，恐怕我們會因此錯過許多耐人尋味的傑作吧。 今天在節目中，就從希特勒獨斷定義的『墮落藝術』(Degenerate Art)，聊到畢卡索最著名的反戰巨作格爾尼卡Guernica，以及英國匿名街頭藝術家Banksy在蘇富比拍賣會上的惡搞，一起看看那些泛政治的藝術是何等精彩！ 有的時候泛政治的藝術作品，是藝術家刻意加入了政治的元素或是政治的訊息，藝術創作不過是自己發聲表達立場的出口。 1937年在慕尼黑，由納粹黨一手促成的兩場畫展，一個是宣揚希特勒所認定的值得亞利安人引以為傲的藝術品，另一個則是為了徹底羞辱抽象畫，表現主義等希特勒所唾棄的藝術風格。 (

10. Degenerate art Picture and plate : https://www.moma.org/calendar/exhibitions/3868

GBC Ep17:Robert Mickelsen- From Fine Art to Degenerate Art This is a conversation  that I've wanted to have for years. For myself personally, Robert Mickelsen has been a major influence in my glass work with his refined details and proportions. With 45 years of dedication to this wonderful medium of glass, Mickelsen has a ton of knowledge to share while also understanding he still has a wealth of knowledge to gain.  Hope you enjoy this conversation and if you have any questions for Robert you can reach out to him on Instagram @ramickelsen   Other links referred to in the episode: - Robert's Bio: Born Dec.12, 1951. Grew up in Honolulu, Hawaii and attended high school at Punahou (same school as Barack Obama, just ten years earlier). I went to Humboldt State University in Arcata, Ca for one year but dropped out. Started blowing glass in Greeley, Colorado in 1974. Moved to Florida in 1977 and continued glass selling my wares at street craft shows and flea markets. I made my living on the street exclusively until 1989 when I switched to wholesale craft shows. It was also around this time that I took a class at Penland with Paul Stankard that opened my eyes for the first time to the artistic potential of my craft. My work blossomed after that. I began my teaching career at Pilchuck in 1994 where I was deeply influenced by the artists that I met including Dante Marioni and Bill Morris. I continued doing wholesale craft shows, indoor art shows, and teaching for the next ten years. During that time I had several solo shows at prominent glass art galleries and attended SOFA in Chicago numerous times represented by several different galleries. I stopped doing wholesale shows in 2001 and shifted my focus to selling exclusively through high-end art galleries. This lasted until the great recession of 2008 when I found myself in a crisis when all my galleries closed and shows dried up. I struggled for about four years until 2012 when I was introduced to pipe-making by Salt and Kevin Ivey. I experienced a rebirth and a newfound enthusiasm for glass. The rest you already know.  I am proud to have my work included in some of the most prominent museum collections including Renwick Gallery of American Crafts at the Smithsonian Institution, the Corning Museum of Glass, The Toledo Museum of Art, The Museum of Arts and Design, The Carnegie Museum of Art, The Mint Museum, The Cleveland Museum of Art, and The Museum of American Glass at Wheaton Village. 

Jeff (vox/guitars) & Ricky (bass) talk with myself and Danielle from The Metal Cell Forums. Strangers With Guns were formed in 2019 and released their first album Degenerate Art in August 2019. It was nominated for a Best Album of a Year award and received plenty of positive reviews. The band are ready to release a new E.P called Disenfranchised Fetus in August and we play an exclusive track, the brilliant "Cants" on the show. Jeff and Ricky gave us some great insights into the band and hopefully they'll go on to more success this year. Songs featured and permission granted: Dublin Daze (c) Brake Loose, 2020 all rights reserved. Cants (c) Strangers With Guns, 2020 all rights reserved.

Our lives today are pretty surreal, folks, so what better time than now to educate you all in a little art history, hmmm? Today, we get into the true weirdness [and the rise and fall] of the Dada and Surrealism movements. Later, take a quiz on Dadas and Papas! . . . [Music: 1) Daniel Varsano, Erik Satie’s “Gymnopédie No. 1,” orig. 1888, rec. 1979; 2) Frau Holle, “Ascending Souls,” 2017. Courtesy of Frau Holle, CC BY-NC 3.0 license.]

Frankfurt, Germany, 1905. Georg Swarzenski is appointed director of the Städel at the age of 30. He wants to open the richly traditional museum for exciting new art. In 1911, he purchases the “Portrait of Dr Gachet” in Paris – an act that makes a strong statement in the unyielding German Empire. Swarzenski very skilfully develops the Städel into a modern museum. In 1933, however, when he is at the height of his career, the Third Reich descends upon him. Swarzenski is of Jewish descent but not only personally under existential threat: his lifework, the modern collection, is also the target of attack. The “Portrait of Dr Gachet”, the silent observer of all these goings-on, is confiscated in 1937 and declared “degenerate art”. This is a chapter in the painting’s history that bears witness to the brutal and contradictory ideology of the National Socialists – and to the importance they attach to art.

In the summer of 1937, two art exhibits were on display in Munich, Germany. One glorified the German state while the other was created with the intention of shaming and debasing the artwork on display. The art included in the latter now has the title of modern masterpiece. However, during the 1930s it, and the infamous exhibit, were known as “Degenerate.”In this series, I’ll examine an exhibit that’s had a lasting impression on art history. Maybe it galvanized a movement or maybe it was too radical for its time. Whatever the outcome brought us to where we are today.Support the show on Patreon - https://www.patreon.com/DisturbingthePiece

You might consider South London's Kitchens of Distinction forebears of the shoegazer genre that defined alternative rock in the UK in the early 90s. Fronted by bassist Patrick Fitzgerald, the Kitchens perfected the art of layering swirling guitars into infinity creating some of the most gorgeous noise ever recorded. But, after four albums in 6 years without a major breakthrough, the band called it quits in the mid-90s. Since then Patrick has had numerous side projects including Fruit, Lost Girls, Oskar's Drum, and his solo work under the name Stephen Hero. Oh, and he also became a doctor. Patrick and I discuss the legacy of KOD, the challenges of being an out and proud gay man in those days, the nature of his work in medicine, the new album he's completing, and a disastrous tour they did with Suzanne Vega back in the day.  He's just about the sweetest man you'll ever know. And here's a link to the last Oskar's Drum album, 2018's Degenerate Art, which is fantastic. Enjoy!    https://oskarsdrum.bandcamp.com/album/degenerate-art?fbclid=IwAR1-MQ1dkWfKAo-NfvS2d_Hzjbs5iBKI50RaqKWh7xjzBEnULrndy5KocOE

Aaron Golbert a.k.a. Marble Slinger, chronicled and in some ways changed the history of functional glass through the popularity and widespread distribution of his 2012 documentary film, Degenerate Art. In keeping with his goal to document the history of the glass pipe scene in America,Slinger will present an exhibition titled True OGs, which opens this Friday, April 19, 2019, at Fiore Gallery in Philadelphia, Pennsylvania. The show presents the work of more than 65 artists who began their pipe making careers prior to 2000. On his Instagram, Slinger wrote: “Before social media, before the Internet, before digital cameras, before cell phones, and before legal and medical cannabis there were True OGs. My concept for this show was to highlight a group of folks who have endured 20 plus years of making glass pipes for a living. We’ve seen so much change since the ‘90s - the colored glass, the equipment, the online revolution, from Operation Pipe Dreams to legalized recreational weed. I remember not being able to use the word bongpublicly, when all pipes were for tobacco useonly. Now, thousands of people share pictures of themselves smoking weed without a care in the world.” A few notes on Friday’s True OGs opening: Only VIP ticket holders will be admitted to the gallery from 3 to 6 pm. The gallery opens at 6 pm for general admission, no ticket required. Space in the gallery is limited, therefore a second venue at 1714 N. Mascher has been rented to host a party that can accommodate everyone. The party space will be open to the general public from 4 to 11 pm, with plenty of music, food, and space to relax and connect with friends. The party venue is located only a few blocks from the gallery, and postcards with maps will be distributed. A shuttle will also be provided from 6 to 9 pm between the venues. Fiore gallery will be open this weekend from 2 to 10 p.m. on Saturday and 2 to 6 p.m. on Sunday.        

A discussion of Surrealism as a movement that is not only artistic but philosophical, looking at the historical context in which it arose, and the ideas that influenced it. In this episode, we discuss the question of suicide, mental illness, the Nazis' "Degenerate Art" exhibit, Breton's "Prolegomena to a 3rd Surrealist Manifesto (Or Not)" and more!

Marcel Braun and Project 33 West Coast glassblowing legend Marcel Braun and his team, "The Starship," have been working hard to blur the line between furnace worked and flame worked borosilicate glass. Currently, Braun specializes in producing glass coins also referred to as "Art Units," which are used as a trading currency in the functional glass world in an artistic and social experiment he calls Project 33. The artist’s goal is to return the benefits of his work to the pipe community.  Braun states: “There needs to be a catalyst for change in order to move forward, and we must wholeheartedly accept this as our mission and duty. The world has become a place of corporate greed and fabrication. Quality of craftsmanship has diminished steadily over the last 40 years as planned obsolescence has become a main factor in product design. People are accepting the accumulation of money alone as a good enough reason to expend community resources.” To properly broadcast Project 33’s message, Braun and his crew designed a mobile glassblowing unit referred to as  “S.E.C.X.C.” (Sacred Economic Currency X-Change). Once the old International Metro Mite van was transformed into a moving artistic experience, glass gallery, and currency exchange kiosk, the Starship was ready to travel to events around the world. On August 3, a showcase of the live hot glass coin pull was held in Philadelphia to highlight Braun’s millefiori pulls using the SECXC. The newly released documentary, "Project 33 - An Alternative Is Possible," directed by Dan Collins (Editor of Degenerate Art), was also screened.  On August 8, Ruckus Gallery will hold a second event in the art gallery district of Old City, Philadelphia, to release the glass coins to VIP collectors. An educational exhibit that will focus on the processes of The Starship team and the Philadelphia project will be on display at Ruckus from August 8 through September 5.  Approximately 500 people are expected to attend both separate events. There will be a personal Ruckus Gallery episode of this live hot glass demo filmed by Collins, a feature in the Philadelphia Inquirer, as well as tons of hot glass photography and video on Ruckus gallery’s website and social media.  Talking Out Your Glass was able to catch up with Braun during his busy Philadelphia schedule to talk about Project 33 in the context of his successful career in functional glass.  

A trip to Pappy & Harriet's to see the band Gram Rabbit was Barbie's first visit to the desert. From then, she would travel back and forth between the desert and a corporate job in Long Beach - that's a long ride for the love of the desert.   After a medical diagnosis in 2008, Barbie Sommars sought alternative methods of healing and pain management and came to cannabis. She's moved from patient to activist to educator on her journey and currently leads the Orange County Chapter of Women Grow and produces cannabis infused Moonlight Movable Feasts through her High Dining brand. Barbie also founded Fairie Jane, a cannabis lifestyle brand, celebrating cannabis awareness and activism through the art of adornment.   In this episode, Barbie helps the uninitiated understand a bit about hemp and marijuana, the differences between the two and the biological reasons it's helping so many people with or without ailments. She also shares a bit about some of the products she promotes and the jewel-like blown-glass pieces she offers as an homage to the underground glass makers - the full story on that is in a film called Degenerate Art.  

Degenerate Art, the 2012 documentarydirected by pipemaker Aaron Golbert a.k.a. Marble Slinger, chronicled and in some ways changed the history of functional glass through its popularity and widespread distribution. The film, whose title references a German expression used by the Nazi regime to criticize non-conformist art, inspired multitudes of artists to take up pipemaking as their passion and profession. Living and working in Philadelphia, Pennsylvania, home to one of the nation’s most vibrant glass pipemaking scenes, Slinger developed a body of work that communicatescomplex themes through the utilization of graal techniques.He’s known for his visages of pop culture icons such as Audrey Hepburn and Sherlock Holmes, sandblasted onto matte-finish, color-blended pipes and tubes. On the Board of Glass Alchemy’s Makers Alliance, Slinger works with the company to determine the future direction of its color palette. Independently, his aesthetic signature includes myriad patterning techniques such as honeycombs, inside out, fuming, disc flips, reticellos, bowties, spirals, stuff and puffs, and traditional shaping styles. Bronze casting, painting, and mixed media are also employed to convey concepts influenced by pop and graffiti art.  

As part of Creative Capital's “Artist to Artist” interview series, Amy O’Neal (2006 Performing Arts) and Degenerate Art Ensemble (2013 Performing Arts) met to discuss collaborative practices in dance, choreography and site-specific performance.

This is an archived copy of The Daily Standard podcast. Please note that advertisements, links and other specific references within the content may be out of date.

In 1937, Hitler and the Nazi party organised a huge exhibition of modern art in Munich. It was designed to ridicule works of art which they disapproved of - they called it Degenerate Art. It went on to be one of the best attended modern art exhibitions of all time. Picture: Two men prepare to hang German Expressionist painter Max Beckmann's triptych 'Temptation' at the 20th Century German Art Exhibition at the New Burlington Galleries, London. The exhibition includes work by all the German artists pilloried by Adolf Hitler in the 'Degenerate Art' exhibition in Munich of 1937. (Photo by Topical Press Agency/Getty Images)

In 1937, Hitler and the Nazi party organised a huge exhibition of modern art in Munich. It was designed to ridicule works of art which they disapproved of - they called it Degenerate Art. It went on to be one of the best attended modern art exhibitions of all time. Picture: Two men prepare to hang German Expressionist painter Max Beckmann's triptych 'Temptation' at the 20th Century German Art Exhibition at the New Burlington Galleries, London. The exhibition includes work by all the German artists pilloried by Adolf Hitler in the 'Degenerate Art' exhibition in Munich of 1937. (Photo by Topical Press Agency/Getty Images)

Klee explored the subject of weightlessness in paintings with a three-dimensional construction that appear to drift in space. They are based on precise constructive principles, yet are frequently irrational in their spatial logic. In »Schwebendes«, 1930, [Hovering], the corners of the overlapping four-sided figures are only partly »rational«, that is, linked by two corresponding corners. Other links are »irrational«, or randomly created. This gives an impression of a three-dimensional structure with a disturbing perspective. Its surfaces appear to belong to different spatial levels, and to change in the perception of the observer.

Paul Klee's »Zwei Männer, einander in höherer Stellung vermutend, begegnen sich«, 1903,[Two men meet, each believing the other to be of higher rank] is part of a group of works known as the »Inventionen« [Inventions], eleven etchings from the years 1903 to 1905, whose meticulous technique and detailed, relief-like composition is reminiscent of drawings by the Old Masters. In his diary, Klee described the »Inventionen« as »opus I« and called them the first fully valid examples of his individual artistic production. Inspired by artists such as Francisco de Goya and Honoré Daumier, Klee used his »Inventionen« to explore man?s domination by his physical urges and how it becomes twisted by bourgeois sexual morals. »Zwei Männer, einander in höherer Stellung vermutend, begegnen sich«, 1903, [Two men meet, each believing the other to be of higher rank] is kind of a political and socio-critical nature.

It was clear to Renzo Piano from the very outset that Klee had too much depth as an artist to ever be contained within an ordinary building. Renzo Piano felt that the Centre planned should be dedicated to the work of a "poet of stillness", so Piano's ideas revolved around an essentially tranquil type of museum. But Renzo Piano also drew inspiration from the identity of the location, the gently rolling profile of the terrain itself, for the vision of the structure he wanted to create. The fact that a motorway cut a deep and abrupt swathe along the plot's outer perimeter did not trouble him. Rather he felt it should be incorporated into the project as a pulsing artery of our civilisation, and be reflected both aesthetically and functionally.

Even four years after the end of the war, references to war themes and Paul Klee's experiences are still to be found in his work: For instance the picture "The Dart House". Only the indication of the weapon in the title and the exact depiction of such a bullet, is reminding Paul Klee of the First World War. The picture itself emanates nothing warlike. Apparently Klee was interested in combining the contrasts of movement, statics and gravity. The massive building, constructed of coloured areas, which strangely appears to hover in the space, lends the seemingly delicate and vertically downward plunging arrow, a sudden weight. The arrow apparently not only keeps the house in the picture, preventing it from floating away, but pulls it forcibly downwards.

During his time as a teacher at the Bauhaus, Paul Klee made an intense study of motion in the static, gravity-bound world and in that of the dynamic. The possibilities of movement open to birds and fish interested him particularly, as did their elements - air and water. Klee called water an »in-between realm«, in which the law of gravity does not apply and freedom of movement becomes possible. Kleeís collected works include more than sixty on the subject of fish, and about the same number of titles that contain the concept of water.

The picture "Park near Lu" lives from a strong contrast between the black symbols showing the trees, branches and paths of a park, and then the surrounding colour zones like colourful foliage. It seems to have been a specific landscape which inspired Paul Klee to paint this picture. Klee's wife Lily travelled several times in the late 1930's to Lucerne for health reasons and she spent time in a sanatorium. Paul Klee had visited her there, when his own physical condition permitted and strolled with her through the park around the sanatorium.

Let yourself get closer to our works of Paul Klee in an informative and entertaining way. The content of the podcasts offer listeners the classic work descriptions and background information on selected exhibits of Paul Klee.

But no other subject is so intensely dealt with in the »Inventionen« as the comedian, which comes up in three different versions. All of them show the head of a man in profile, hidden behind a mask. While the faces of the two first versions are recognisable as self-portraits, the third image focuses on a more fundamental reflection by Klee on his existence as an artist. Here, the discrepancy in the earlier pictures between what the artist is and what he does gives way to a duality of artistic form and artistic personality.

In the summer of 1905, Klee started using a new medium: blackened sheets of glass, which he worked on with a needle. Using the resistance of this unusual medium, he discovered a new form of artistic expression - the scratched drawing. In his diary, he described his discovery thus: »The medium is no longer the black line, it is the white. The light energy on a midnight background fits very well with the expression "let there be light". And so I glide gently over into the new world of tonalities.«

Lady Demon was created in 1935 during a period of artistic helplessness and the search for new means of expression. Klee was caught in a creative crisis due to his exile in Berne, the unhealthy political developments in Germany and above all, also due to the constantly deteriorating state of his health. This work is a typical example of the transition phase to his late style which commenced after 1936. In falling back onto earlier subjects and forms which Klee by enlarging the scale and with the help of a new title filled with new content, he was on the way to a new more concentrated pictorial language.

In »der Graue und die Küste«, 1938, [The grey man and the coast], a line beginning at the top edge swings back and forth, dividing the painting into horizontal segments. The »grey man« appears to observe this course, which the title describes as a coast. We too look down on a landscape of fjords far below us, reading the blue surface as sea, the bow-shaped lines as boats, the horizontal bar with three dots in the middle of the painting as a ship.

The oil painting »Bildarchitectur rot gelb blau«, 1923, [Pictorial architecture red, yellow, blue] is one of the »square pictures« that Paul Klee worked on during his time at the Bauhaus in Weimar, and which he systematised in his Dessau Bauhaus period (1927-1930). More than ten years earlier, Klee had composed his first watercolours out of coloured geometric shapes, and he had later transferred the principle into poetic variations. The »square pictures« of the Bauhaus period are among the few completely non-representational compositions in Klee?s oeuvre, and they bear witness to his systematic work on the theory of colour.

The Städel Museum had amassed an incredible collection of Modern Art. However, under Nazi rule, the Städel’s collection was declared ‘degenerate’ and decimated.