Japanese-American artist Ruth Asawa has not been given as serious consideration by scholars for her role as a product of Black Mountain College, as her contemporaries, such as Robert Rauschenberg and Cy Twombly, therefor leaving a gap in the school's record for its impact on the lives of students most effeced by intense racial discrimination of 1940s America. An analysis of Asawa's artworks juxtaposed those of Albers, suggests her crocheted wire sculptures are physical representations of a global citizenry void of heritage and based on supportive networks. I consider how Josef Albers' theories on line, and his declaration to "open eyes," are metaphors for universal citizenship, which gave students like Asawa permission to transcend prejudiced identities imposed by society.
Ruth Asawa: Josef Albers' Universal Citizen
Grounded in personal interviews with architect Axel Schultes, this study of the German Chancellery Building in Berlin suggests Schultes' original plan for the Chancellery makes direct links to ancient Egyptian and Islamic architecture as a hopeful prescription for a capital haunted by its unfavorable recent history, yet striving toward a prosperous future.
This study employs an anthropological lens to examine how Holocaust memorials as "memory institutions," are effective means of numbing public memory of Germany's role in WWII, as opposed to memorializing lives lost. This essay suggests the cosmopolitan elites who commissioned the state-sponsored sites, deliberately sought to re-create the same sesations of dissociation and self multiplicity experienced by victims and perpetrators of the Holocaust, in an effort to detatch and anesthesize the contemporary Berliner from the country's past.
A final assessment at Sotheby's Institute of Art in London, this paper critiques the catalog essay and analyzes the market for Alexej von Jawlensky's Abstraker Kopf: Trajik (1928), which sold in June 2013 at a premium price of 1,202,500 GBP, 343.6% higher than the high estimate. This analysis asserts the catalog essay is intended to convince potential buyers they are purchasing an iconic work of German Expressionism. I deduce the rise in record prices resulted from an increase in cultural currency for Russian artists and German Expressionism, a product of an influx of Russian buyers and the revival of Expressionsm as must-haves.