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The quote in the title of this paper is taken from the first line of Marc Depaepe's article "An Agenda for the History of Colonial Education", published in "The Colonial Experience in Education" (Ghent, 1995). This presentation takes as its focus the informal learning space of the museum and the art gallery, and the emergence in recent years of curatorial activism. It seeks to explore the changing discourse and politics around addressing through display the history of colonialism and its meaning in today's globalised world.

Whilst the link between young people's well‐being and the creative arts is strengthening, there is a lack of research which focuses on the roles that artists play to help teachers and parents engage young people in the creative arts. This paper explores the benefits of and barriers to artists working in education in six European countries (England, Iceland, Germany, Greece, Italy and Austria). Using the '5A's model of creativity' and a view of professional development taking place within 'landscapes of practice', the data were analysed in order to explain how creativity is operationalised in the different contexts. Our study highlights the need for policy at a national and transnational level to value the creative arts in order to help teachers cross boundaries and utilise the full potential of the creative arts in schools. Our study also highlights that further research is needed into how artists shape teaching and curriculum and how schools engage parents in the creative arts in order to build an evidence‐base relating to young people's positive mental health that can affect policy at these levels. [ABSTRACT FROM AUTHOR]

The article discusses the papers presented at the Visual Resources Association (VRA) Satellite Meeting in Berlin, Germany on the role of periodicals in mediating computer applications in visual resources collections. A paper by Sandra C. Walker which she presented at the 27th International Congress of the History of Art is cited. The statement of purpose of the VRA for its initial session proposal is presented.

An introduction is presented which discusses articles within the issue on topics including similarities between artistic-creative and psychoanalytic work, conflict between the development of persona and individuation in different generations, and organisation working with refugees in Germany.

The vital role of entrepreneurship for economic growth and its impact for job creation in mature and developing economies is widely recognized and quantified (OECD, Entrepreneurship and Business Statistics, 2015). According to Get2growth data (How Many Startups Are There?, 2015), 100 million start-ups are created each year of which 1.35% are technology-based companies, and according to the Kauffman Index of Entrepreneurial Activity (Fairlie, 2013), almost a quarter of new businesses in the USA were started by entrepreneurs aged 55 and older. Survival following failure data for start-ups are numerous and complex in the interpretation, and data presented by the Statistic Brain (Startup business failure rate by industry, 2015) show a 55% failure rate within the fifth year. Entrepreneurship is important for growth but sustainable entrepreneurship is hard to achieve. This paper, by means of a case study of a German private art museum 'Kunstmuseum Gehrke-Remund', analyzes the disruptive methods, both atypical and contrary to the mainstream art industry, developed to ensure the sustainable success of such an innovative endeavor. Our analyses and results contribute to the understanding of the building blocks and roadmap designed by the Kunstmuseum to successfully enter the elitist contemporary art industry, as an outsider, and provide an early indication that such methods can be theoretically replicated in other industries by other entrepreneurs. [ABSTRACT FROM AUTHOR]

The article examines the resonant objects of art by artist Kurt Schwitters. Topics include the artwork Kurt Schwitters Platform by Swiss artist Thomas Hirschhorn, Schwitters' Merzbau artworks in the early 19th century, the objects used by Schwitters in his art like old padlocks, metal springs, and wooden matches, as well as the artworks of George Grosz.

This paper reflects on the significations of the 'mental life' of the city that are represented by the material symbols on display. In trying to comprehend the public display of fascist era 'art' in the city of Trieste, it addresses an example of trying to make sense of the 'impossible'. Reassured of the contested nature of such displays, the paper reflects further on the power of symbols in fascism and how different countries have addressed their legacy. Confirmed of their danger, we examine the risk of leaving their significance unanalysed and contextualise this in a comparison of the respective approaches of Italy and of Germany. We also consider the potential impacts of toleration, and normalisation, of such artefacts. [ABSTRACT FROM AUTHOR]

The present paper sketches the historical development of the German essay in the 20th century. The starting point are theoretical considerations on the essay as a literary genre. The main characteristics of the essay are than illustrated on representative German essays which are examined on social - political background. The historical determination of the German essay in the 20th century causes its thematic characteristics: politics and art. The scope of the paper is to illustrate the relationship between art and the social and political reality and to explain the interaction of art and politics as depicted in various essays throughout the previous century. [ABSTRACT FROM AUTHOR]

In the Middle Ages and the premodern period knowledge of alchemical practices and materials was transmitted via collections of recipes often grouped concomitantly with art-technological instructions. In both alchemy and chemical technology particular importance is placed on artisanal and craft practices. Both are concerned with the description of colours. Both require procedures involving precise and specifically defined actions, prescriptions and ingredients. Assuming that alchemical and artistic texts have the same textual format, this raises the question: were they produced, diffused and read by the same people? This paper investigates the authorship and the context of production behind a sample of German alchemical manuscripts dating from the fourteenth to the sixteenth century. It scrutinizes their process of production, compilation and dissemination. This paper also sheds light on the various types of marginalia, and correlates them with their diverse functions. It thus delivers significant information about the readers and users of these manuscripts.

This paper examines a polyhedral dial from the British Museum made by the instrument maker Ulrich Schniep, and discusses the status of multifunctional scientific instruments. It discerns a multifaceted iconic meaning considering different dimensions such as scientific functionality (astronomy), the complex allegorical figure of Justice (iconography), and the representation of the sovereign (politics), the court and the Kunstkammer of Albrecht v of Bavaria. As a numen mixtum the figure of "Justicia" touches different fields that go far beyond pure astronomical measurement and represents the power of the ruler as well as the rules of economic justice.

Much of our knowledge about HIV infection has been obtained from cohort studies, including description of the natural history of infection, identification of CD4 count and viral load as good surrogate markers of clinical progression, identification of co-factors [including older age and viral infections (CMV, HCV)] for progression of HIV-related disease and assessment of impact of highly active antiretroviral therapy on clinical outcomes. The Cologne-Bonn cohort was founded by Gerd Fätkenheuer and Bernd Salzberger after introduction of combination antiretroviral therapy in 1996 and has delivered important findings which have helped to improve treatment strategies as well as quality of overall care in HIV infection in these two cities. Indeed, the first pivotal paper from the cohort reported on an unexpectedly high rate of virological treatment failure of protease inhibitor therapy in an unselected cohort of HIV-infected patients. The subsequent analysis of risk factors for virological failure initiated the development of more potent HIV combination therapy. This review summarizes some of the major findings and contributions from the Cologne-Bonn cohort since 1996. [ABSTRACT FROM AUTHOR]

This paper seeks to explore the broad question of whether and how art can be applied to medical therapeutic practices. As part of this research, the paper outlines an ongoing project, exemplifying this combined approach, which seeks to improve function in stroke patients. We reviewed previous collaborations between art and psychology dating back to the 1960s, employing methods ranging from simple, analog, haptic interfaces to the contemporary potential of machine learning to improve brain function. We then outline an ongoing project employing machine learning and multisensory stimulation to improve function in stroke patients, which are being run in collaboration with Klinik Lippoldsberg, Germany. We discuss the possibility that these same approaches may also be applied to healthy people as an open-ended inquiry into consciousness and mental optimization. It is hoped that these approaches will be beneficial to the medical community, but also equally broaden the reach and context of contemporary art, which is so often marginalized within institutions that are not readily accessible to or in communication with other disciplines. [ABSTRACT FROM AUTHOR]

This paper presents new facts, hitherto unpublished in Croatia, concerning the life and work of Selman Selmanagić, the well-known Berlin architect, designer and professor. The life of this successful Bosniak was saturated with influences from the various cultures and communities in which he lived, studied and worked. He was born in Srebrenica, and went to school in Sarajevo, Ljubljana and Dessau. He spent the majority of his working life in Berlin where, among other activities, he led the Department of Architecture at the Kunsthochschule for twenty years. The article focuses on his life, the development of his rich career and all of his most important achievements. It is of particular interest that he actively took part as a main consultant in the renovation project of the Bauhaus building in Dessau in 1975. [ABSTRACT FROM AUTHOR]

This paper addresses the significance of primitivism as a figure of thought during the emergence of Kulturwissenschaften--consisting of different fields of knowledge and disciplines--in Germany at the beginning of the twentieth century. Two interrelated problems in particular shaped the scholarly discourse on primitivism: first, the question of the existence and modes of operation of 'other' forms of thought and consciousness. Second, the epistemological question how these 'other' forms of thought could be recognized if the researcher him or herself belonged to a particular historically determined European mode of thought and perception. In this context the art of non-European 'primitives' and of the insane became a central topic. Its cross-disciplinary investigation ultimately arrived at a redefinition of a nexus of problems: the challenge to the old concept of art as well as to the dominant concept of psychopathology, that is, the definition of normality and deviancy. Both the non-European 'natives' and the European 'insane' received new importance as scientific objects for a wider range of fields of knowledge. This process was connected with an articulated need to expand and strengthen the faculty of subjectivity and intuition on the part of the Kulturwissenschaftler for means of investigation and understanding (verstehen). The discourse on primitivism in German Kulturwissenschaften reflected the crisis of knowledge and methology at the beginning of the twentieth century and was finally resolved by taking refuge in phenomenology and holism.

This paper reviews a key dynamic in post-medieval archaeology, that is, the relationship between artefacts and images, and in particular the questions raised in the study of historic domestic material culture depicted in contemporaneous painting and prints. Both media underwent a major transformation from c. 1400. Two main groups of pictorial art containing domestic material culture are reviewed, namely pre- and post-Reformation art in the Netherlands and Germany and genre paintings of the Dutch Golden Age. The historical iconographic record may shed a potentially rich qualitative light onto the quantitative archaeological patterning. Excavations at Duisburg in the Lower Rhineland are selected as a rich source of archaeological correspondence. [ABSTRACT FROM AUTHOR]

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The paper speculates upon the relationship between art and politics within the artistic phenomenon that was named "Dada". The main research target will be the examination of the presence of the political inside the Dada activities which emerged in Zürich and Berlin between 1916 and 1920. The study will try to locate the presence of the political in Dadaist reflections related to the notion of artistic utopia. The study reaches the conclusion that the Dada views on utopia support the Adornian notion of the "unfulfilled utopia". In addition, the study suggests that the Dada notion of artistic utopia can be seen as a complement to the famous Dadaistic "negative" and radical redefinition of the notion of "art" at the beginning of the XX-th century. [ABSTRACT FROM AUTHOR]

The paper is aiming at analyzing the artistic life of the Germans from the city of Brasov in the years 1949 and 1950, as it is mirrored in the newspaper "Neuer Weg". Before WW II the Germans constituted a group of their own and practiced mainly a kind of expressionism. As most of the artist contributed works to exhibitions in Nazi Germany, after the end of the war they became vulnerable. Therefore they had to accept the collaboration with the communist regime and adopt the doctrine of socialist realism, a paradigm which was legally enforced in the soviet controlled countries from 1949 to 1956. Some artists were committed to the new doctrine, while others were more cautious. [ABSTRACT FROM AUTHOR]

In the article, the author presents updates on the art and performance in Germany amidst the coronavirus pandemic as of September 2022. Other topics include the opening of theaters in the country in 2021 with plays like "Die Dreigroschenoper," starring Nico Holonics, the cases of cancellation of shows like "Der Hofmeister" (The Tutor) due to the pandemic, and how emergency funding for the performing arts sustained the German theatre during the pandemic.

Taking Africa Fang race's sculpture of West Equatorial as a case study, this paper discusses three paradigms in the Western art anthropology during the last half century. The first paradigm is stylistic analysis, which emphasizing the sculpture itself and its morphological properties. This quantitative approach aimed at distinguishing sculptural styles and sub styles and its goal is mapping the art production of the Fang geographically. Such a typological approach has colonial roots and serves the purposes of surveillance and control. The second is qualitative analysis which focuses not on form but on meaning. On the basis of local research, anthropologists presented Fang sculpture as the embodiment of the Fang social cultural value system. This approach, based on fieldwork and highlighting culture's unique values and thinking ways, may be considered as classical cultural anthropology paradigm. It followed Franz Boas's teachings created in the US. This research tradition rooted in nineteenth--century Germany. The third is post--colonialism paradigm. This paradigm investigated the attitude of western artists, collectors, and museums since Fang sculpture arrived in Europe at the nineteenth--century. It pays attention to the appropriation of these things, including re--labeling them as "work as art" and their commoditization in the international art market. [ABSTRACT FROM AUTHOR]

This study examines women's attitudes toward the own use of assisted reproductive technologies (ART) by their religious affiliation in Germany. The social relevance of ART is increasing in Western countries due to overall low birth rates, a high rate of childlessness, and a gap between the desired and the actual numbers of children. Previous literature has been scarce, however, on attitudes toward ART, and religious diversity has not been included in studies on ART. Our analysis is based on data collected in a pilot study in 2014 and 2015. The sample includes 944 women aged 18 to 50 living in Germany. The results show that Muslim women were significantly more likely than Christian women to say they would consider using ART; having no religious affiliation was associated with the least open attitude toward ART usage. [ABSTRACT FROM AUTHOR]

In the early sixteenth century, a new genre of epistemic and artistic objects appeared in southern Germany. For the first time, art manuals, ranging from instruction booklets to model books, put craft know-how into pictures and stabilized it in print. These slim and user-friendly art primers were made by artists for artists, at least in theory. They were designed to teach basic drawing skills, including simple geometry, perspective, and human proportions, and to circulate patterns. However, the manuals also taught how and where to look: their objective, then, was to develop a certain optical acumen through intense visual absorption. By examining some examples of the genre authored by such prominent figures as Sebald Beham or Erhard Schön, this article addresses questions on the teachability and display of artistic knowledge in the wake of Albrecht Dürer. It argues that sixteenth-century German art primers thematize, aestheticize, and embody modes of transmission and self-presentation in the ways they showcase practice. Despite their pedagogical ambitions and claims to be closer to practice than Dürer's didactic model, early modern art manuals in fact created an ideal and condensed version of artistic knowledge: rather than mediating practice, they show what their authors understood practice to be. In the process, they powerfully championed the cognitive authority of pictures, and influenced the shape and format of later drawing manuals. [ABSTRACT FROM AUTHOR]

The article reports on the third convention of Germany's keepers of public print rooms, held at the Hamburger Kunsthalle in Hamburg, Germany, from December 3 to 5, 1992. The event was hosted by the Hamburg print room's head Eckhard Schaar, together with Hanna Hohl and Jürgen D&ounl;ring. Paper presentations at the congress included eight that discussed administrative problems, such as questions from students preparing papers in subject of graphic art, and two on the unification of graphic collections in Germany.

The present study explored the cross-cultural appropriateness of children's family drawings as a measure for attachment quality. The sample consisted of 63 children aged 6 years from two diverse ecosocial contexts: middle-class families from Berlin, Germany (n = 32) and rural farming families from small villages around Kumbo, Cameroon (n = 31). The analysis of drawings with two classical attachment procedures, the Checklist of Drawing Signs (Kaplan & Main, 1986) and the Global Rating Scales (Fury, 1996), revealed substantial cultural differences. The results thus substantiated children's drawings as important cultural documents. Implications of the findings, however, are discussed in consideration of culture-specific conceptions of attachment relationships as indicated by cultural variations in mother's socialization goals. [ABSTRACT FROM AUTHOR]

In 1960s Munich, the German art groups Spur (1957–65), which was the German section of the Situationist International, and Geflecht (1965–67) made several collective works that revolved around the political and ethical implications of artistic authorship. The tensions experienced by the members of these groups between individual autonomy and collegial decisions, freedom and collectivism carried manifold implications, artistically, socially, and politically. The shifts in their attitude are seen within broader 1950s and 1960s cultural and intellectual discourses, although they also contribute to the current debate about socially committed and cooperative forms of art practice. [ABSTRACT FROM PUBLISHER]

What is history? This question has been asked for centuries and there is still no single accepted answer. Many different opinions exist, with different methodologies and theories providing different answers. This article aims to rethink the idea of history as it was known to the German historian Leopold von Ranke (1795 -1886) and reflect whether it is still relevant today. For a number of years, I have examined the concept of objectivity attributed to Ranke by looking at his private life and how it influenced his historical writing. In previous studies, scholars have examined Ranke's works, his use of language and how he dealt with specific areas of history. By examining his private life, I hope to not only provide an understanding of Ranke as an individual, but also shed new light on him as a scholar. Due to the fact that his wife was from Ireland, I have briefly examined his History of England and contrasted his treatment of Irish history with his account of English history. It shows that Ranke's Irish history was written from a pro-Catholic viewpoint, which is the opposite of his usual pro-Protestant outlook. It also shows that Ranke, like many other historians, did not always follow his strict self-set goal in his historical narrative. In this article, I want to argue that despite a number of problems that have been acknowledged with Ranke's understanding of the ontology of history, modern historians should still be interested in Ranke as a historian: So, why should modern historians ever contemplate reading Ranke for instruction on what they do today? Is he still central to historical thinking and practice? In this essay, I shall place this discussion within the larger debates on the nature of history as it is understood today. [ABSTRACT FROM AUTHOR]

An essay is presented that discusses the 1929 traveling exhibition "Film und Foto" ("FiFo"), organized by the association Werkbund. It focuses on the exhibition of works by photomontage artist John Heartfield. Topics include the Werkbund's philosophy of photography and its exhibition, a Soviet (USSR) pavilion at the 1928 Pressa exhibition in Cologne, Germany, and political aspects of Heartfield's book cover designs.

This article considers the eclectic early work of German artist Rosemarie Trockel, which the author addresses in relation to the specific historical and political conditions of feminism and difference in postwar Germany. Her argument discusses the ways in which the very subject of 'difference' in postwar Germany was conflicted -approaching a taboo - that impacted the nature of the sexual revolution, postwar politics, and the subsequent emergence of the feminist movement within and outside of the artworld. In turn, the author examines how Trockel's art negotiates gender in similarly complex terms, impacting ongoing debates around her work's political allegiances and its potential ambiguities. [ABSTRACT FROM AUTHOR]

An increasing number of couples and individuals with a desire for a child travel abroad for assisted reproductive technologies that are not available in their home country. This trend has been coined 'cross border reproductive services' (CBRS), often comprising third party reproduction. In order to respect the welfare of all parties involved, the German Society for Fertility Counselling has developed guidelines for psychosocial counselling in this area in 2010. The following article raises some of the controversies in CBRS and introduces these guidelines. [ABSTRACT FROM AUTHOR]

This article argues that Lutheran images moved from being adiaphora, matters of indifference to salvation, to being confessional markers under the pressure of Calvinist iconoclasm. This was particularly true in Brandenburg, where Lutheran traditionalism was reinforced by Johann Sigismund’s ‘Second Reformation’ and the iconoclasm that it engendered in 1615. It was also true, however, in Albertine Saxony, where there was a cultural backlash against Christian I’s attempts to purify the Lutheran church (1586–1591). Conflicts within Protestantism, the article suggests, played an important role in embedding images in Lutheran culture and therefore contributed towards the flourishing of ecclesiastical art that occurred in Lutheran Germany during the later seventeenth century. The final section of the article asks how far Lutheran image use differed from Catholic. Concerns about idolatry never entirely disappeared from Lutheran discussions of images, and patrons and pastors sometimes came dangerously close to a return to works righteousness in their commemorations of the donation and adornment of churches. Yet during the later seventeenth and early eighteenth centuries the Lutheran church successfully assimilated even the theatricality and illusionism of baroque art into its devotional life. [ABSTRACT FROM PUBLISHER]

The article discusses Germans' perceived enthusiasm for American pop art in the 1960s and 1970s, with emphasis given to the work of such artists as Roy Lichtenstein and Andy Warhol. The author relies on the theories of cultural history and culture transfers. The author beings by charting the development of German modernism and abstract expressionism, which influenced this love of U.S. pop art. The influence of U.S. economic conditions on the rise of pop art is then explained. Other topics discussed include the opening of German art galleries, German art collectors, and German economic conditions.

The article provides information from various aspects of the field of international serials and electronic resource management. Abstracts for several research articles are included on topics such as scholarly electronic books (e-books) and open source data in academic publishing. Additionally, awards and grants presented by the American Library Association (ALA) in 2011 are highlighted along with notes on the reorganization of the United Kingdom Serials Group (UKSG). Brief information regarding the 2012 conference for the UKSG and a list of online resources related to serials librarians are also included.

Throughout the second half of the nineteenth century, Munich’s fame was centred about its reputation as a Kunststadt or art city. Second only to Paris in terms of the education, practice and marketing of art, Munich presented itself as a Gesamtkunstwerk or total work of art, touting its Renaissance, Baroque, and Neoclassical urban fabric as undisturbed by the intrusion of factories that had begun to alter the physiognomy of Europe’s largest cities. Art and architecture thus played crucial roles in defining Munich’s civic identity, especially with regard to its position as the capital of Bavaria. Upon the unification of Germany in 1871, however, Berlin began to challenge Munich’s Kunststadt status, eventually surpassing it. This essay examines the basis of Munich’s identity and the Bavarian–Prussian tensions that underscored its competition with Berlin, using three buildings as exemplars of this problematic relationship: the Bavarian National Museum of 1900, the Schack-Galerie of 1909, and the House of German Art of 1937. [ABSTRACT FROM AUTHOR]

Drawing on women's visual responses to the First World War, this article examines female mourning in wartime Germany. The unprecedented death toll on the battlefronts, military burial practices and the physical distance from the remains of the war dead disrupted traditional rituals of bereavement, hindered closure and compounded women's grief on the home front. In response to these novel circumstances, a number of female artists used their images to reimagine funerary customs, overcome the separation from the fallen and express acute emotional distress. This article analyses three images produced during the conflict by the artists Katharina Heise, Martha Schrag and Sella Hasse, and places their work within the civilian experience of bereavement in war. By depicting the pain of loss, female artists contested the historical tradition of proud female mourning in German society and countered wartime codes of conduct that prohibited the public display of emotional pain in response to soldiers’ deaths. As a largely overlooked body of sources, women's art adds to our understanding of the tensions in wartime cultures of mourning that emerged between 1914 and 1918. [ABSTRACT FROM PUBLISHER]

This essay takes "Projekt Migration" as point of departure and as a model-an exhibition on the history of labor migration to Germany and on European border politics, which contained both everyday life objects and art works. It concentrates on the materiality of the objects on display and challenges contemporary history scholars' and public historians' approaches, which rely primarily on artifacts, such as documents and objects of daily use, when they represent migration processes and immigrants' lives. The stories associated with these objects often allude to immigrants' everyday practices during their first years abroad. Transforming them into "eternal migrants," exhibits thus tend to create fictionalizations of immigrants, which are then read as realistic and neutral representations. Artists, unlike museum curators, sign their work and thus assume responsibility for the narratives and allusions, which evoke emotions in the viewers. They insert a critical distance between the viewers and the objects, and thus make the "cultural spaces" (LIPPARD, 2003) between object, author, and viewer perceptible. The generalized "othering" of the immigrants and the voyeuristic stance of the viewers towards these others' migratory fates can thus be avoided. Works of art in exhibitions on migration history enable and force the visitors, with or without migration backgrounds, to take position themselves as well. This article therefore argues for the need of artists' interventions in exhibitions on migration history. [ABSTRACT FROM AUTHOR]

This article examines the historic parallels between the development of American Pentecostalism and the formation of German Expressionism. German Expression is examined through the grid of Restorationism, African Culture, Experience, and heightened Expressions found in early American Pentecostalism. After their parallels are drawn out, significant questions regarding the role of the Spirit in relation to these separate cultural circles are explored. Answers to some of these questions encourage Pentecostal theology to look deeper into the concept of Sacred Time. Included is a look at the possible intersection of the Spirit and the artist community, calling for deeper Pentecostal engagement with the arts. [ABSTRACT FROM AUTHOR]

The article discusses the importance of art to urban upgrading in Germany. The role of artists in economic improvement processes is often viewed critically, socially motivated developments by means of art. Specifically those social projects dealing with urban shrinking processes enjoy improving attention. Hence, information on a development project of a singular complex in Berlin-Kreuzberg strictly geared to economic parameters is presented.