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1. 1 2016-07-18T12:02:32-07:00 Sara Blaylock, UC Santa Cruz 90c69acc85f129272be0130feae47fb850768599 Course Basics Sara Blaylock, UC Santa Cruz 33 plain 304920 2016-07-28T08:48:39-07:00 Sara Blaylock, UC Santa Cruz 90c69acc85f129272be0130feae47fb850768599

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1. 1 2016-08-23T01:51:35-07:00 HAVC 135B 48dc63e105cb9494c4b97f5905d76e011b4b6a55 How did the art and visual culture of the Third Reich achieve a Gesamtkunstwerk? How did Nazi-era cultural policies instrumentalize art? In what ways do Nazi critiques of modern art as “degenerate” rely on racial typologies and prejudice, as well as ideal HAVC 135B 1 plain 2016-08-23T01:51:35-07:00 Art and visual culture by the third Reich achieved Gesamtkunstwerk in Germany by allowing only nationalistic art, or art that employs the help of national pride and the service of people to the Fatherland. Nazi-era cultural policies instrumentalized art the same way Gesamtkunstwerk was used; visual art was used as a tool to further the cause of nazi era politics, ideas of national pride, serving one’s country militarily, agriculturally, politically, socially, and any other services that suggest allegiance was made through art and normalized so that the people of Germany know it is one’s duty to help their country. Nazi critiques of modern art made a distinction about good art and ‘degenerate’ art from their belief that they were a distinct, favorable race than all other nations of all the World. Nazi Germany also believed to be descendants from the Holy Roman Empire, ideas that perpetuated their idea of a perfected race and applying them in the real world. A ‘spirit’ or cultural renewal was found in Germany through this type of art, because it was a time of unity for Germany; they seemed more unified and proud as a country. There are many ways to just look at an object, especially a Nazi-era object, and see plainly the aesthetics the creator tried to imply, but the history of the object gives it meaning, knowing what the meaning is, is really important if one wants to know the aesthetic. -Javier Juarez HAVC 135B 48dc63e105cb9494c4b97f5905d76e011b4b6a55
2. 1 2016-08-23T16:40:33-07:00 HAVC 135B 48dc63e105cb9494c4b97f5905d76e011b4b6a55 In what ways do Nazi critiques of modern art as “degenerate” rely on racial typologies and prejudice, as well as idealistic or utopian visions of a perfected Aryan race HAVC 135B 1 plain 2016-08-23T16:40:33-07:00 Modern art was deemed to be unworthy “degenerate art” by the Führer. When the Degenerate Art exhibit first opened to the public, certain artworks belonging to families or owners were confiscated by the Nazis. Works from Kadinsky, Dada, Frank Grosz, and Jewish pieces were displayed in the exhibit to further show case the ‘ugliness’ of modern art, expressionism, and impressionism. In Stephanie Barron’s Degenerate Art, the author mentions that the Nazis thoroughly disliked modern art because they felt that “modernists plan[ned] to reform the world and the images of mankind that were visualized by the modernist movement were irritating and disturbing to their radicality and ambiguity” (Barron,89). The Nazis would criticize the absurd price that the people would pay for the ‘ugly’ art and rule out sickness, diversity, and homosexuality to romanticize an Aryan utopia. By allowing the exhibit to travel across Germany, the Nazis pushed their ideas and images of this idealistic future for Germany. -Uyen Le HAVC 135B 48dc63e105cb9494c4b97f5905d76e011b4b6a55

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