Avinoam Shalem – författare

This issue examines the legacy of Nazi-looted art in light of the 2012 discovery of the famous Hildebrand Gurlitt collection of stolen artwork in Germany. When the German government declassified the case almost two years later, the resulting scandal raised fundamental questions about the role of art dealers in the Third Reich, the mechanics of the Nazi black market for artwork, the shortcomings of postwar denazification, the failure of courts and governments to adjudicate stolen artwork claims, and the unwillingness of museums to determine the provenance of thousands of looted pieces of art. The contributors to this issue explore the continuities of art dealerships and auction houses from the Nazi period to the Federal Republic and take stock of the present political and cultural debate over the handling of this artwork.Special topic contributors. Konstantin Akinsha, Meike Hoffmann, Andreas Huyssen, Lawrence M. Kaye, Olaf Peters, Jonathan Petropoulos, Anson Rabinbach, Avinoam Shalem, Julia Voss, Amy Walsh

the volume represents a significant contribution to the complex history of the conceptualization and pictorialization of the Prophet Muhammad in the West. It gives a rapid and though deep overview of the history of the making of an image of the Prophet Muhammad in Europe and thus reflects the whole history of the making of the image of Islam in the Latin West, from the early medieval times till the 19th century. The book also provides the reader with ready access to the most recent scholarship concerning the image of Muhammad in Europe, in the form of comprehensive footnotes provided throughout the text and an extensive bibliography.

Disziplinäre Grenzen überschreitend zielt der Band darauf ab, die Visualisierung Mohammeds in der westlichen Welt vis-à-vis mit dessen Darstellung im Islam zu untersuchen. Dabei wird das Material weder geographischen oder sprachlichen Sphären zugeordnet noch werden Textquellen isoliert von bildlichen Darstellungen betrachtet. Die Beiträge eröffnen vielmehr einen thematischen und theoretischen Dialog über die Frage, wie der Prophet in verschiedenen kulturellen Traditionen, in Europa und Amerika und in der Welt des Islam, vom Mittelalter bis in die Gegenwart, vergegenwärtigt wurde.

Disziplinäre Grenzen überschreitend zielt der Band darauf ab, die Visualisierung Mohammeds in der westlichen Welt vis-à-vis mit dessen Darstellung im Islam zu untersuchen. Dabei wird das Material weder geographischen oder sprachlichen Sphären zugeordnet noch werden Textquellen isoliert von bildlichen Darstellungen betrachtet. Die Beiträge eröffnen vielmehr einen thematischen und theoretischen Dialog über die Frage, wie der Prophet in verschiedenen kulturellen Traditionen, in Europa und Amerika und in der Welt des Islam, vom Mittelalter bis in die Gegenwart, vergegenwärtigt wurde.

Stirring paintings, colourful picture collages made from countless scraps of paper, moving photo collages – the art of Tammam Azzam (*1980 in Damascus) is multi-faceted, political and topical. The publication provides a comprehensive overview of the oeuvre of the Syrian artist and describes his career over the past 20 years.Twenty years of the life and work of Tammam Azzam – from Syria and Damascus via Dubai to Delmenhorst and Berlin, where the artist has lived and worked since 2018. The volume Bilder ohne Namen / Untitled Pictures traces Tammam Azzam’s life and his art, from the early reduced paintings via the digital photomontages and the large-format pictorial collages to his latest acrylic pictures. Azzam’s iconic pictorial inventions engrave themselves into our memory.

Setting a group of medieval carved ivory horns in the specific artistic and historical context in which they were manufactured, used and re-used, this book presents a mine of information for the study of medieval history. The first chapters explore such technical aspects as the cutting and carving of oliphants, and also the broader issues of the morphology of ivory and its availability in the Mediterranean basin in the Middle Ages. On the basis of specific carving methods and varying vocabulary of motifs, the oliphants are organized into groups and their probable sites of production are suggested.The core of this volume, however, is the attempt to place them in their specific historical context. The purpose of their mass-production, namely their patronage and original function, is explored, but also their reception and new functions in the church treasuries of Latin Europe is broadly discussed.

The exhibition "Meisterwerke muhammedanischer Kunst" that took place in Munich in 1910 marked a turning point in the approach to Islamic Art. The show attempted to break free of Orientalism and exotic fantasies and, in doing so, set a new standard for the reception of Islamic art in Europe. Moreover, naming the Islamic artefacts masterpieces, it layed claim to bestow upon Islamic art “a place equal to that of other cultural periods”. This book is the first comprehensive study on this path-breaking exhibition. It includes a wealth of unpublished material and numerous novel ideas on the subject and addresses the exhibition’s historical context, organization, realization and display as well as its reception in the West and its later influence on the study of Islamic art.

Setting a group of medieval carved ivory horns in the specific artistic and historical context in which they were manufactured, used and re-used, this book presents a mine of information for the study of medieval history. The first chapters explore such technical aspects as the cutting and carving of oliphants, and also the broader issues of the morphology of ivory and its availability in the Mediterranean basin in the Middle Ages. On the basis of specific carving methods and varying vocabulary of motifs, the oliphants are organized into groups and their probable sites of production are suggested.The core of this volume, however, is the attempt to place them in their specific historical context. The purpose of their mass-production, namely their patronage and original function, is explored, but also their reception and new functions in the church treasuries of Latin Europe is broadly discussed.