After decades of works about the Nazi dictator, “Who was Hitler?” becomes a less interesting question than “Why do we care so much?”
Like Trump, Spanish dictator’s appearance was not that of a majestic ruler. He had a team who studied propaganda methods and traveled to see posters, exhibitions, and ceremonies first hand.
One of the most celebrated statues from antiquity, the “Discobolus” remains a cautionary tale about the ways in which we speak about ideal bodies through the art we curate and display.
The new book Take That, Adolf! compiles classic comic book covers that show how American superheroes were marshaled into service during World War II.
When ebooks and ereaders caught on, they brought about the indomitable rise of a once-languishing genre: romance novels. But they’re not alone; other titles in other genres are benefitting from the anonymity of ereader packaging. One book that’s seen a big boost? Hitler’s Mein Kampf.
Whether art still has the power to disrupt, offend, and shock is a well-worn topic in the art world. Many of us take it for granted that, as Jennifer Schuessler wrote this past fall in the New York Times, “Shock long ago went mainstream.” At heart, though, the question concerns not just an artwork but also its context, and in our day and age, one sometimes gets the sense that context might be everything. Consider this: a statue of Hitler is currently on display in the former Warsaw Ghetto, courtesy of Italian artist Maurizio Cattelan.
We’ve all heard about Nazi dictator Adolf Hitler’s stint a failed artist but now we get to judge for ourselves as the portfolio he submitted to the Vienna Academy of Art is going to auction.