Entangled Art Histories

The artistic, cultural, and institutional exchanges between West and East Germany and the United States during the Cold War.

Throughout the Cold War era, a sustained and intense dialogue developed between both the West and East German and the North American art scenes on artistic, socio-cultural, institutional and economic levels. Entangled Art Histories offers new insights into the complex and intertwined transatlantic networks that gradually emerged in the wake of movements such as Pop Art, Minimalism and Conceptualism, involving artists, museums, galleries, curators, critics, and the art market.

The essays in this volume, written by internationally renowned scholars, address key issues ranging from travel and infrastructure to East-West cultural policy during the Cold War. By exploring the exhibition strategies, controversial receptions and geopolitical concerns of these entangled histories, this book contributes to a better understanding of the dynamic interplay between artists, galleries, and museums from a transnational perspective.

"Entangled Art Histories" was written by Gregor Stemmrich, Felix Vogel, Alexander Alberro, Nóra Lukács, Gregory H. Williams, Stefaan Vervoort, Althea Ruoppo, Claudia Mesch, Sabeth Buchmann, Stefano Agresti and Dirk Snauwaert.

"Entangled Art Histories" was edited by Valérie Mavridorakis, Alexander Streitberger, Hilde Van Gelder and Erik Verhagen.

Valérie Mavridorakis is professor of art history at Sorbonne Université, Paris.

Alexander Streitberger is professor of art history at UCLouvain.

Hilde Van Gelder is professor of art history at KU Leuven.

Erik Verhagen is professor of art history at Université de Lille.

Yes, "Entangled Art Histories" is part of the "Lieven Gevaert Series" series. It's book 35 in the series.

Yes, "Entangled Art Histories" is published Open Access. It is available under a BY-NC-ND license.

Publication of "Entangled Art Histories" was funded by KU Leuven Fund for Fair Open Access
Open Book Collective
Université Paris 1 Panthéon-Sorbonne
Université de Lille
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7 Preface

11 Introduction
Valérie Mavridorakis

23 Rauschenberg’s Bed (1955) and II. Documenta (1959): Histoire Croisée of a Transatlantic Conundrum
Gregor Stemmrich

47 “If It Is Possible, It Is Best If You Bring Your Work Yourself”: Infrastructure, Logistics, and Production at documenta
Felix Vogel

63 Artists, Critique, and the New York–Cologne Axis in the 1980s and 1990s
Alexander Alberro

79 Must Art Hang? Critical Ambivalence in Andrea Fraser’s Exhibitions at Galerie Christian Nagel
Alexander Streitberger

103 Think-Crazy. Charles Simonds’s Exhibition at Jürgen Schweinebraden’s EP Galerie in East Berlin: Notes on a Cooperation Between a Private Art Institution in the GDR and the DAAD Artists-in-Berlin Program in West Berlin
Nóra Lukács

121 Belated Recognition: Critical Reception of East German Art in the United States Around 1990
Gregory H. Williams

133 Franz Erhard Walther in New York
Erik Verhagen

147 Schütte’s Amerika (1975): A Nietzschean Critique of US Conceptualism in Düsseldorf
Stefaan Vervoort

165 Between Rhine–Ruhr and Rust Belt: Industrial Transnationalism in Reinhard Mucha’s The Wirtschaftswunder, To the People of Pittsburgh
Althea Ruoppo

183 Charles W. White in East Berlin: Progressive Art History and the Limits of Socialist Solidarity in the German Democratic Republic, 1951–1978
Claudia Mesch

197 Network as an Expansion Strategy: Robert Barry and the Development of Artist Relations of Galerie Paul Maenz in Cologne
Stefano Agresti

213 Infrastructural Economies in Post-Conceptual Film Practices of the 1970s and 1980s: The Example of the Neo-Narrative Essay Film
Sabeth Buchmann

229 Post-Gulf War Specifications in the German–US Art Exchange from a Munich Perspective, 1996–2001
Dirk Snauwaert

241 Plates

257 About the Authors

The Digital Object Identifier (DOI) for "Entangled Art Histories" is 10.11116/9789461666734.