Paul B. Jaskot, The Nazi Perpetrator: Postwar German Art and the Politics of the Right; Alex Potts, Experiments in Modern Realism: World Making, Politics and the Everyday in Postwar European and American Art; Hannah Feldman, From a Nation Torn: Decolonizing Art and Representation in France, 1945–1962

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Notes

1. Although Sebastian Egenhofer addresses many of the same questions and practices as Potts, it is the paradigm of the readymade in particular that distinguishes his own monumental study, Abstraktion, Kapitalismus, Subjektivität: Die Wahrheitsfunktion des Werks in der Moderne (Munich: Wilhelm Fink, 2008), and makes it an important contribution that should be read together with the art histories of the period that Potts engages.

2. In this respect, Jaskot's book may be read productively with Peter Chametzky, Objects as History in Twentieth-Century German Art: Beckmann to Beuys (Berkeley: University of California Press, 2010).

3. On this film and the use of the dissolve in Nazi cinema, see Eric Rentschler, The Ministry of Illusion: Nazi Cinema and Its Afterlife (Cambridge, Mass.: Harvard University Press, 1996), 158–64.

Additional information

Notes on contributors

Megan R. Luke

MEGAN R. LUKE is assistant professor of art history at the University of Southern California [Department of Art History, University of Southern California, VKC 351, Los Angeles, Calif. 90089-0047].