Mark Haxthausen

Scholarship/Creative Work

Selected Publications

A. Books and catalogues

• Refiguring Vision: The Art Criticism of Carl Einstein. Translations of selected texts with an introduction and commentary. Under contract by the University of California Press (in progress, completion date end of 2010).
• The Two Art Histories: The Museum and the University (editor). Williamstown, Mass.: Clark Art Institute/ New Haven: Yale University Press, 2002
• Berlin: Culture and Metropolis (co-editor, with Heidrun Suhr). Minneapolis: University of Minnesota Press, 1990; reprinted 2009 in “Minnesota Archive Editions.”
• Modern German Masterpieces from the Saint Louis Art Museum, catalogue for a traveling exhibition of forty paintings, 1986. Simultaneously published as the Winter 1985 issue of Bulletin. The Saint Louis Art Museum.
• Paul Klee: The Formative Years, New York: Garland Publishing, Inc., 1981

B. Articles and Chapters

• “Ad Marginem? Klee und die amerikanische Kunstgeschichtsschreibung,” in: Polyphone Resonanzen: Paul Klee und Frankreich/ La France et Paul Klee, ed. Gregor Wedekind, Berlin/Munich: Deutscher Kunstverlag, 2010, 45-61.
•  “Lyonel Feininger/Walter Gropius: Bauhaus Manifesto, 1919,“ in: Bauhaus 1919-1933: Workshops for Modernity, exhibition catalogue, edited by Barry Bergdoll and Leah Dickerman, MoMA, 2009, 64-67.
• “Raumerforschungen: Zu Sigmar Polkes ‚Linsenbildern’/ Space Explorations: On Sigmar Polke’s ‘Lens Paintings,’“ in: Sigmar Polke : Wunder von Siegen/Sigmar Polke: Miracle of Siegen, edited by Eva Schmidt, exh. cat., Cologne: Dumont, 2008, 32-41 (German); 44-51 (English).
•  “A ‘Degenerate’ Abroad: Klee’s Reception in America, 1937-40,” Klee and America, ed. Josef Helfenstein and Beth Hutton Turner, exhibition catalogue. Houston: The Menil Collection and Stuttgart: Hatje Cantz, 2006, 158-177
• “An Optics of Fragmentation,” (essay on Carl Einstein, Bebuquin or Dilettantes of the Miracle) in: David Wellbery and Judith Ryan (eds.), A New History of German Literature, Cambridge: Harvard University Press, 2005, 688-693.
•  “Chinese Painting Between Modernity and Tradition: Reflections on an Exhibition and a Conference,” ed. Cao Yiqiang, to be published in the proceedings of the conference, Crossing Boundaries: An International Symposium on Chinese Painting, held in Hangzhou, China, September 4-5, 2004 (in press).
•  “Reproduction/Repetition: Walter Benjamin/Carl Einstein,” October 107, Winter 2004, pp. 47-74.
• “’Die erheblichste Persönlichkeit unter den deutschen Künstlern’: Einstein über Klee,“ in: Die visuelle Wende der Moderne: Carl Einsteins Die Kunst des 20. Jahrhunderts, ed. Klaus H. Kiefer, Munich: Wilhelm Fink Verlag, 2003, pp. 131-146.
• “Bloody Serious: Two Texts by Carl Einstein,“ October 105, Summer 2003, pp. 105-118.
•  “A Poetics of Space: Beckmann’s Falling Man,” in: Max Beckmann, ed. Sean Rainbird, London: Tate Publishing, 2003, pp. 250-253.
• “Zwischen Darstellung und Parodie: Klees ‘auratische’ Bilder,” in: Oskar Bätschmann and Josef Helfenstein (eds.), Paul Klee: Kunst und Karriere: Beiträge des internationalen Symposiums in Bern, Bern: Stämpfli Verlag, 2000, pp. 9-26.
• “’Wenn Welten zusammenstoßen’: Sigmar Polkes Frau Herbst und ihre zwei Töchter,” in: Jenseits der Grenzen: Französische und deutsche Kunst von Ancien Régime bis zur Gegenwart: Thomas W. Gaehtgens zum 60. Geburtstag, ed. Uwe Fleckner, Martin Schieder, and Michael F. Zimmermann, Vol. 3: Dialog der Avantgarden, Cologne: DuMont, 2000, pp. 323-333.
• “‘Das Gegenwärtige zeitlos machen und das Zeitlose gegenwärtig’: Max Beckmann zwischen Formalismus und Mythos,” in: Max Beckmann: ‘Die Nacht'”, edited by Anette Kruszynski, Stuttgart: Hatje, 1997, pp. 35-52.
• “The Road to Critical Resemblances House: Report of a Mapping,” Arakawa and Madeline Gins, Reversible Destiny, exhibition catalogue, Solomon R. Guggenheim Museum, New York 1997, pp. 15-37.
• “Das Kunstwerk im Zeitalter seiner (al)chemi(sti)schen Umwandelbarkeit,” in: Martin Hentschel (ed.), Sigmar Polke: Die drei Lügen der Malerei, exhib. cat., Bundeskunsthalle Bonn and Nationalgalerie Berlin, Stuttgart: Hatje/Cantz, 1997, pp. 185-202.
• English edition: “The Work of Art in the Age of its Alchemical Transmutability: Rethinking Painting and Photography after Polke,” Sigmar Polke: The Three Lies of Painting,Stuttgart: Hatje/Cantz, 1997, 185-202.
• “Modern Art after ‘The End of Expressionism’: Worringer in the Twenties”, in: Invisible Cathedrals: The Expressionist Art History of Wilhelm Worringer, ed. Neil H. Donahue, University Park, PA: The Pennsylvania State University Press, 1995, pp. 119-134.
• “The World, the Book, and Anselm Kiefer,” The Burlington Magazine, No. 1065 (December 1991), pp. 846-851.
• “Looking at Arakawa,” in: Constructing the Perceiver–Arakawa: Experimental Works, exhibition catalogue, The National Museum of Modern Art, Tokyo, 1991, pp. 33-51 (Japanese translation), 313-322 (English text).
• “‘A New Beauty’: Ernst Ludwig Kirchner’s Images of Berlin,” in: Berlin: Culture and Metropolis, ed. Charles W. Haxthausen and Heidrun Suhr. Minneapolis: University of Minnesota Press, 1990, pp. 58-94; reprint 2009.
• “A Critical Illusion: ‘Expressionism’ in the Writings of Wilhelm Hausenstein,” in: The Ideological Crisis of Expressionism: The Literary and Artistic War Colony in Belgium 1914-1918, edited by Rainer Rumold and O. K. Werckmeister, Columbia, S. C.: Camden House, 1990, pp. 169-191.
• “Zur ‘Bildsprache’ des Spätwerkes,” in: Paul Klee: Das Schaffen im Todesjahr, ed. Josef Helfenstein and Stefan Frey (exhibition catalogue Kunstmuseum Bern), Stuttgart: Verlag Gert Hatje, 1990, pp. 7-36.
• “Kiefer in America: Reflections on a Retrospective,” Kunstchronik, Jahrgang 42, Heft 1 (January 1989), pp. 1-16.
• “‘Der Künstler ohne Gemeinschaft’: Kandinsky und die deutsche Kunstkritik,” in: Kandinsky:Russische Zeit und Bauhausjahre, 1915-1933, exhibition catalogue, Bauhaus-Archiv, Berlin, 1984, pp. 72-89
• “Beckmann and the First World War,” in: Max Beckmann Retrospective, St. Louis Art Museum (Munich: Prestel Verlag, 1984, distributed by W. W. Norton and Co., New York), pp. 69-80
• “Klees künstlerisches Verhältnis zu Kandinsky während der Münchner Jahre,” in: Paul Klee: Das Frühwerk, exhibition catalogue, Städtische Galerie im Lenbachhaus, Munich 1979, pp. 98-130