Bazon Brock

  • Paradise and Lunch: Advertising’s Architecture of Heaven

    Wir kommen alle, alle, alle in den Himmel” (All, all, all of us will get into heaven): this is a line from one of the best-known German carnival songs. However, we will get there only after death.

    The saying that has lovers living in heaven on earth even tells us which heaven they live in: the seventh. The lover in a German hit song of the ’30s that is still popular today promises his girl to dance with her into heaven.

    Situations in which we feel extreme pleasure are described as heavenly, in the vernacular. (Heaven is off limits for people we would rather see “go to hell.”)

    As a maxim for

  • The End of the Avant-Garde? And So the End of Tradition. Notes on the Present “Kulturkampf” in West Germany

    Some strange things are apt to make us ask questions.

    1. WHILE I WAS PREPARING THIS article, an excellent and significant artist tried to stop me from mentioning his colleague Anselm Kiefer. He then attempted to intimidate me so I would not give more emphasis to Kiefer’s painting than to his own or that of his friends. What could explain this behavior, which unfortunately is not unique?

    2. In 1980 the Georg Baselitz and Anselm Kiefer exhibits in the German Pavilion at the Venice Biennale were almost universally rejected by the German critics. The true reason for their disdain could be perceived