I research and write about Franz Marc from the German aesthetic, philosophical, and psychological frameworks of Einfühlung
, and Trauerarbeit
. Marc is also a natural subject for a critical examination of the newer discipline of Animal Studies. In the course of my research I have developed several side projects about recovered biography and Raubkunst
, among other topics.
I write about modern and contemporary art for books and journals, do book and exhibition reviews, and am a staff writer for the Italian Art Society
blog and the technology manager for the for IAS website
. (Whatever the opposite of horror vacui
is I have it so a redesign will begin sometime soon.)
I also have my own website, German Modernism
, which is about that subject, particularly Franz Marc, but also about the historical avant-garde, Futurism, contemporary art, and animals.
Other PublicationsEin Manifest der Freundschaft
– Trang Vu Thuy (ed.), “Blog des Lenbachhauses,” Städtische Galerie im Lenbachhaus und Kunstbau, Munich, Germany, February 2015. )
: Zum Vortrag von Isabelle Graw Der Wert des Lebendigen – Malerei als indexikalisches Medium in der neuen Ökonomie
, (ed.) Althaus, K., The Lenbachhaus, Munich, June 2013.
Raubkunst at the Ringling: The Story Continues
Its genesis in 2016 was the glimpse of a fin becoming a feather that ignited a strong intuition at ”Raubkunst als Erinnerungsort,” a research fellowship sponsored by the Zentrum für Historische Forschung der Polnischen Akademie der Wissenschaften
in Berlin that same December. Eventually, and with the help of many people, “Raubkunst at the Ringling
” ran in the Modernism journal Lapsus Lima
on 9 January 2019 and was picked up in the news all the way to the Antipodes that week with the story “Otago Link to Identifying Art Looted by Nazis
On 13 February 2019 I presented this research about Franz Marc’s woodcuts Schöpfungsgeschicte II
(1914) and Geburt der Pferde
(1913) amid colleagues at the College Art Association
conference in New York City. The very next day I learned “Raubkunst at the Ringling” had been formally recognised as a “solved” case of Nazi looted art with the recognition of my findings by the Commission for Looted Art in Europe
in the annals of The Central Registry of Information on Looted Cultural Property 1933-1945
My hope all along has been that the John and Mable Ringling Museum of Art, the State Art Museum of Florida operated by Florida State University, would acknowledge the illicit acquisition of the prints by the American UPI reporter Robert Beattie from the notorious “Kunsthändler to the Third Reich” Bernhard A. Böhmer in 1940 prior to Beattie’s donation of them to the Ringling in 1956 where they have been hidden since, and allow these works to be shared with the public.
But wait there’s more:
I have subsequently learned that there is potentially even more Raubkunst
at the Ringling: Paintings by Christian Rohlfs and George Grosz and bronzes by Ernst Barlach with provenance gaps from 1933-1945 are also locked away at the museum, as well as some oils and terracottas from the 16thand 17thcenturies that, while not entartete
, were simply stolen or subject to forced “sales”from museums or private owners under the Reich.
To more fully bring this story to light, I would like to compile a volume, half catalogue, half detective story, about these works. Please do contact me at firstname.lastname@example.org
if you are interested in working together on this project.