TABLE OF CONTENTS

PRINT May 1984

OBSESSIVE PICTURES OR OPPOSITION TO THE NORM: NOTEWORTHY ASPECTS OF THE ENGAGED IMAGINATION IN NEW GERMAN ART

THE HUNGER FOR IMAGES1 is international. Far too many people are concerned with channeling the various national forms this imagery assumes into handy categories. In the wake of a falling internationalism which exhausts itself in formalistic, neutral vocabulary, the regions and nations are celebrating. From the land of Nietzsche and Wagner, those misused fathers of German nationalism, a couple of packages have been bundled up—the so-called “Neo-Expressionists” and the so-called “Wild Ones”—and thus carelessly labeled have been sent off on an international success tour. Uncritically and without regard for the serious differences among them, both packages are being treated as standard German fare from the kitchen of the raw, the mythic, the brutal, the sentimental. They are being devoured as the true German cuisine—the German variation on the international intoxication with images, or the

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