John Heartfield

With a foreword by Ronald S. Lauder and a preface by Renée PriceThis sumptuous book commemorates the twentieth anniversary of the Neue Galerie New York and includes highlights of the museum’s collection. Austrian and German Masterworks: Twentieth Anniversary of the Neue Galerie New York printed by Prestel in 2021, is the updated version of the Masterworks from Neue Galerie New York catalogue. Modern Worlds: Austrian and German Art, 1890-1940, printed by Prestel in 2021, is the unabridged Neue Galerie collection catalogue, complete with extensive essays and 286 plates. The Neue Galerie New York opened in November 2001, showcasing its collection of Austrian and German art from 1890 to 1940. This publication is issued in celebration of the museum’s twentieth anniversary and includes a number of major new acquisitions. The Austrian holdings encompass significant paintings by Gustav Klimt, Egon Schiele, Oskar Kokoschka, Carl Moll, and Richard Gerstl. Decorative arts made by the Wiener Werkstätte (Vienna Workshops, 1903-32) are another area of strength, in particular the designs of Josef Hoffmann, Koloman Moser, and Dagobert Peche. The German holdings emphasize the Expressionist movement, with canvases by members of the Brücke, including Erich Heckel, Ernst Ludwig Kirchner, Max Pechstein, and Karl Schmidt-Rottluff. Artists affiliated with the Blaue Reiter (Blue Rider), such as Vasily Kandinsky, Paul Klee, August Macke, Franz Marc, and Gabriele Münter, figure prominently. The Neue Sachlichkeit (New Objectivity) movement is well represented by Max Beckmann, Otto Dix, George Grosz, and Christian Schad. Works by leading proponents of Dada are another special interest, with a focus on John Heartfield, Hannah Höch, and Kurt Schwitters. Iconic creations by members of the Bauhaus represent additional highlights, including objects by Marcel Breuer, Marianne Brandt, Ludwig Mies van der Rohe, and Wilhelm Wagenfeld, as well as art by Lyonel Feininger, László Moholy-Nagy, and Oskar Schlemmer.Hardcover280 pages; 327 color illustrations, 3 b/w illustrationsPrestel, 20219.25 x 11.25 inchesISBN 9783791379531Neue Galerie Exhibition Catalogue

Austrian and German Masterworks: Twentieth Anniversary of the Neue Galerie New York

By Michael White "With Generation Dada, White has presented readers with a powerful new portrait of an avant-garde that flourished in one of the most fraught cities of the early twentieth century." —Catherine Craft, Burlington Magazine“In a well researched, detailed examination of the Berlin avant-garde in the context of WWI, White . . . offers a fresh analysis of the key events and personal relationships that helped form the artistic practices of some of the central figures of the German Dada movement. In an informative but refreshingly accessible style, the author manages to pay close attention to the intricacies of cultural and historical context as well as the formal elements of the works themselves . . . demonstrating a keen eye for the relationship between content and form.” —ChoiceFor the Berlin Dadaists, their identity as a collective—Club Dada, to members—was an integral part of their artistic practice. But the circumstances that brought together the likes of George Grosz, John Heartfield, Raoul Hausmann, and Johannes Baader—renamed Propaganda Marshall, Monteurdada, Dadasoph, and Oberdada within the organization—have remained largely unexamined until now. Drawing on extensive archival research, this book documents the group'ss beginnings in wartime Berlin and reveals how these relationships influenced its provocative acts, which were inextricably tied to the era's chaos and brutality. Studying how the Dadaists saw themselves as a new generation—in contrast to their pacifist forebears, the Expressionists—the book sheds light on key developments and events, such as the First International Dada Fair, held in Berlin in 1920. It also offers the first serious consideration of the group's role in constructing its own legacy, even as the works were deliberately rooted in the ephemeral.Michael White is reader in the history of art at the University of York and is best known internationally for his research on the early-20th-century De Stijl group in the Netherlands. Hardcover382 pages | 20 color and 130 black-and-white illustrationsYale University Press, 20137.8 x 1.2 x 10 inchesISBN 9780300169034Art History, Dada, German History

Generation Dada: The Berlin Avant-Garde and the First World War

By Frederic J. Schwartz “Once again Frederic Schwartz trains his bright light on the unstable frameworks of judgment: in early twentieth-century Germany they assumed a particular form – legal cases unveiled to the public. Aesthetics squirm and yield up new orders of morality. Political questions rise up, unbidden. One cannot ask for more. This is a most timely book.”–Molly Nesbit, Professor of Art on the Mary Conover Mellon Chair at Vassar College; author of The Pragmatism in the History of Art “This magnificent book cuts through the history of early-twentieth-century culture with a new epistemological instrument—the case—and shows what it meant to perceive the social world in cases. Everyone interested in the art and science of the 1920s has to read it.”–Anke te Heesen, Professor and Chair of the History of Science, Humboldt University, BerlinHow artists in twentieth-century Germany adapted the idea of the medical or legal case as an artistic strategy to push to the fore sexualities, scandals, and crimes that were otherwise concealed.In early twentieth-century Germany, the artistic avant-garde borrowed procedures from the medical and juridical realms to expose and debate matters that society preferred remain hidden and unspoken. Frederic J. Schwartz explores how the evocation or creation of a “case” provided artists with a means to engage themes that ranged from blasphemy to Lustmord, or sexual murder. Shedding light on the case as a cultural form, Schwartz shows its profound effect on artists and the ways it dovetailed with methods used by these figures to exploit fundamental changes taking place across the mass media of their time.As Schwartz shows, the case was a common denominator that connected seemingly disparate works. George Grosz and Rudolf Schlichter drew on it for their violent visual art, as did architect Adolf Loos when he equated ornament with crime. Expressionists, meanwhile, approached the question of whether the so-called “mad” shared a right of public expression with those deemed sane, and examined medical and legal approaches to what society labeled as insanity. The case also took on a personal dimension when artists found themselves confronted with, or chose to engage with, the legal system. German courts prosecuted John Heartfield and others for their provocative works, while Bertolt Brecht created publicity for himself by suing the firm to whom he sold the film rights to The Threepenny Opera. Provocative and insightful, The Culture of the Case offers a privileged view of the spaces of representation in which images—in some instances, as cases—functioned at a key moment of modernity.Hardcover432 pages | 30 color, 80 black-and-white illustrationsThe MIT Press, 20236 x 10 inchesISBN 9780262047708Art History, German Art

The Culture of the Case: Madness, Crime, and Justice in Modern German Art

Printed on archival paper, 9 1/4 x 11 3/4 inches Mounted on a 14 3/4 x 16 5/8 inch matte.Designed and printed at Thornwillow Press in Newburgh, New York under the direction of Luke Ives Pontifell. Limited Edition Print, Photomontage

John Heartfield: The Thousand-Year Reich, 1934 [Print]

A portfolio of prints featuring twelve works exhibited at the Neue Galerie New York with an introduction by Dr. Olaf Peters and an essay by Alfred Döblin.Designed and printed at Thornwillow Press in Newburgh, New York under the direction of Luke Ives Pontifell.Each image is printed on archival paper and mounted on a 14 3/4 x 16 5/8 in. matte.The largest print measures 9 3/4 x 12 1/4 in.Housed in a suede-lined clamshell box with a tooled leather spine label.15 3/4 x 18 1/8 x 2 1/8 in.Limited to 185 numbered copies Included are exact reproductions of the following prints:I and the City, 1913 Ludwig MeidnerPanorama (Down with Liebknecht), 1919 George GroszDiabolo Player, 1920 George GroszA Bourgeois Precision Brain Incites a World Movement (later known as Dada Triumphs), 1920 Raoul HausmannThe Singer, 1926 Hannah HöchThe Racing Reporter (Egon Erwin Kisch), 1926 Umbo (Otto Umbehr)Half-Nude, 1926 Otto DixTwo Girls, 1928 Christian SchadCollage, 1930 Lilly ReichFilm still of Marlene Dietrich in Josef von Sternberg’s “Shanghai Express,” 1932The Thousand-Year Reich, 1934 John HeartfieldLonely Metropolitan, 1932 Herbert Bayer

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John Heartfield

Austrian and German Masterworks: Twentieth Anniversary of the Neue Galerie New York

Generation Dada: The Berlin Avant-Garde and the First World War

The Culture of the Case: Madness, Crime, and Justice in Modern German Art

John Heartfield: The Thousand-Year Reich, 1934 [Print]

Berlin Metropolis Folio

Shop at Neue John Heartfield

Austrian and German Masterworks: Twentieth Anniversary of the Neue Galerie New York

Generation Dada: The Berlin Avant-Garde and the First World War

The Culture of the Case: Madness, Crime, and Justice in Modern German Art

John Heartfield: The Thousand-Year Reich, 1934 [Print]

Berlin Metropolis Folio

Shop at Neue
John Heartfield