ARTS & SOCIETIES
 

LETTER OF SEMINAR 41

Centre d’Histoire de Sciences Po

 
 
 

ART AND EQUALITY IN THE GERMAN DEMOCRATIC REPUBLIC

Rudi Kail
Rudi Kail, Mauerporträt, 1967, India ink drawing, 41x28 cm.

Jérôme Bazin
"
The Same Wage and the Same Ration, from the Worker to the Minister": Art and Equality in the German Democratic Republic.


Editorial Director: Laurence Bertrand Dorléac
Editorial Staff: Carole Gautier and Cécile Pichon-Bonin
Translator: David Ames Curtis

PREVIOUS LETTERS

THE INFLUENCE OF THE SAINT-SIMONIANS AND THE IDEA OF ART IN THE VANGUARD OF THE SOCIAL REFORM

BODY MORALITY

DANDIES

The Model Child

THE BEAUTIFUL AND THE USEFUL

Photographs by amateurs

The market, at the start

art in the republic

the voyage of the avant-gardes

Major exhibitions

WHAT IS SOCIAL ART ?

PRIMITIVISMS

realisms

JOSEPH BEUYS : A SHAMAN's FACTORY ?

the Artist and the philosopher

appropriations

THE OPACITIES OF THE TECHNOLOGY

Alternatives to the art market in new york

genius

PREHISTORIES

POSTWAR

MONEY

Icons

THE POWER OF ARTISTS

values in formation

nominalism

ANCIENT ROME

ON EVALUATION

NEW SOVIET FASHIONS

KLEINIAN ECONOMICS

POLICIES OF THE REAL

TOCQUEVILLE AND THE ARTS IN DEMOCRACY

an elitist aesthetic for everyone

The artist as teacher

The equal of history

passion for philosophy and passion for equality in the age of the enlightenment

DEMOCRATIC ART IN ACTION




 
EDITORIAL

 
   

     Jérôme Bazin has just completed his doctoral thesis on painting and the graphic arts in the German Democratic Republic from 1949 to 1990, which has been greeted as a quite new and quite complete study of a situation that remains problematic today.  While, in present-day Germany, works produced in the past create a sense of discomfort, provoke a loss of interest, or induce nostalgia, they remain little known to us outside of Germany.
     What is one to say about an “art without qualities” in this country where the production of images by professionals (the Union of artists) as well as by amateurs was encouraged?  What was the place of equality in a world where the very status of the artist comes under the heading of a caste privilege?  Are there no bridges between East and West, be it only through the existence of an art market governed by some surprising rules?

     Jérôme Bazin begins to respond here to these questions, his answers being based on the consultation of several different types of archives but also and especially on the works themselves.


Laurence Bertrand Dorléac


       

Letter published with the support of the Foundation of France
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