| dc.identifier.uri | http://hdl.handle.net/11401/78144 | |
| dc.description.sponsorship | This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree | en_US |
| dc.format | Monograph | |
| dc.format.medium | Electronic Resource | en_US |
| dc.language.iso | en_US | |
| dc.type | Thesis | |
| dcterms.abstract | The artist Klaus Hahner-Springmuhl was held in high regard by other practicing artists in East Berlin before the fall of the wall in 1989. His works and theories, though widely varying and at times conflicting, are representative of a period within western history which remains paradoxical: where governments espousing ideas of freedom continually practiced techniques of persecution. Corrosive methods and motives originated from either side of the wall. Springmuhl’s work is worthy of inspection because he created art that was outside of any regimented soviet aesthetic and at the same time he was opposed to Western intrusion, both politically and aesthetically. Springmuhl’s series documenting his body and his life are testament that his practice was at times existence as resistance- proof of an existence which survived in direct opposition to the governmental bodies of his time. Of particular importance is the observation that his career mirrored the trajectory of the East Berlin Government. Particularly the implementation of the soviet Stassi and the fall of the Berlin Wall. Not only does the development of Springmuhl’s works interact with West Berlin, but his practice points out specific failings in the methods of the GDR. Through an examination of his photography as well as his ‘paint over photos’ (a practice popularized by Gerhard Richter in 1989, the same year the Berlin wall fell), the similarities between his practice and the GDR will be explored and elaborated, as well as a clearer picture of this little known artist will be offered. | |
| dcterms.available | 2018-03-22T22:39:06Z | |
| dcterms.contributor | Mather, David | en_US |
| dcterms.contributor | Uroskie, Andrew. | en_US |
| dcterms.creator | Hempel, Bryan | |
| dcterms.dateAccepted | 2018-03-22T22:39:06Z | |
| dcterms.dateSubmitted | 2018-03-22T22:39:06Z | |
| dcterms.description | Department of Art History and Criticism. | en_US |
| dcterms.extent | 44 pg. | en_US |
| dcterms.format | Monograph | |
| dcterms.format | Application/PDF | en_US |
| dcterms.identifier | http://hdl.handle.net/11401/78144 | |
| dcterms.issued | 2017-08-01 | |
| dcterms.language | en_US | |
| dcterms.provenance | Made available in DSpace on 2018-03-22T22:39:06Z (GMT). No. of bitstreams: 1
Hempel_grad.sunysb_0771M_13342.pdf: 3163698 bytes, checksum: 04fe3b2e88f80f94dfa528a3df2a36ac (MD5)
Previous issue date: 2017-08-01 | en |
| dcterms.subject | Berlin Wall | |
| dcterms.subject | Art history | |
| dcterms.subject | Dissident Art | |
| dcterms.subject | East German Art | |
| dcterms.subject | GDR | |
| dcterms.subject | Klaus Hahner-Springmuhl | |
| dcterms.title | Klaus Hahner-Springmuhl and East German Soviet Realism | |
| dcterms.type | Thesis | |
