Twentieth-Century European and American Art
Graham Bader's research and teaching focuses on postwar European and American art and the interwar avant-gardes of Germany and Russia. In addition to his book Hall of Mirrors: Roy Lichtenstein and the Face of Painting in the 1960s (October Books, 2010), his published work includes essays on artists including Andy Warhol, Robert Rauschenberg, Gerhard Richter, Jeff Koons, and Kazimir Malevich, and on topics including Neue Sachlichkeit painting in 1920s Germany, the legacy of iconoclasm in twentieth-century art, and American reception of contemporary German painting. He also writes regularly as a critic for Artforum.
Bader is currently completing his second book, Poisoned Abstraction: Kurt Schwitters Between Revolution and Exile, which examines the art and design work of one of German Dada’s central figures. Paying renewed attention to Schwitters’ works as both material and historical constructs, the book attempts to reframe our understanding of both his individual practice and the semantic and political operations of collage more broadly.
Uniting Professor Bader's work on these topics is a desire to better understand the complex interrelations between works of art and the social and political fields in which they take shape: to ask why aesthetic objects come to look how they do when they do, and what this process can tell us about art and history alike. Seeing works of art as a kind of "materialized theory" rooted in specific historical conditions, Professor Bader seeks to ground his work equally in formal analysis, historical research and theoretical inquiry, understanding these three to be inseparable from one another.
“Reinventing Vision, Page by Page.” Art History, vol. 41, no. 2 (April 2018): 382-385.
“Trains of Thought: Graham Bader on the Art of Reinhard Mucha.” Artforum 56, 5 (January 2018): 188-197, 238.
“View Master: Graham Bader on Formalism and Historicity.” Artforum 54, 7 (March 2016): 85-86.
“Vie et mort sur Silver Screen (vers 1963-1964),” in Warhol Unlimited Exh. Cat. (Paris: Musée d’Art moderne de la Ville de Paris, 2015), pp. 90-94.
“Life in the Democracy and the Aftermath of War,” in New Realities and Neue Sachlichkeit Exh. Cat. (Los Angeles: Los Angeles County Museum of Art, 2015), pp. 123-132.
“Sigmar Polke” (featured exhibition review). Artforum 53, 1 (September 2014): 367-368.
“Face aux Mirrors de Lichtenstein,” in Roy Lichtenstein (Paris: Centre Pompidou, 2013), pp. 110-117.
“Gary Hume Paints a Picture,” in Gary Hume: The Wonky Wheel (New York: Matthew Marks Gallery, 2013), pp. 6-23.
"Honored in the Breach: Graham Bader on Absence as Memorial." Artforum 50 (April 2012): 81-82.
"Images Between Dream and Disaster: Passages in Twentieth-Century Photomontage," in Utopia/Dystopia: Construction and Destruction in Photography and Collage. Exh. Cat. (Houston: Museum of Fine Arts, 2012), pp. 70-82.
"Lichtenstein's Narcissus," in Isabelle Loring Wallace and Jennie Hirsh (eds.), Contemporary Art/Classical Myth (London: Ashgate, 2011), pp. 159-173.
"Emptied Gesture: Graham Bader on Roy Lichtenstein's 'Brushstrokes.'" Artforum 49 (Summer 2011): 346-351, 430.
"Rate of Exchange: Graham Bader on Kurt Schwitters." Artforum 49 (January 2011): 198-203, 243.
“Images in Distress” in John Sparagana: Between the Eyes (Chicago: Corbett vs. Dempsey Gallery, 2011), pp. 2-6.
"Painting Reflection," in Roy Lichtenstein: Reflections. Exh. Cat. (New York: Mitchell-Innes and Nash Gallery, 2010), pp. 44-58.
“Tabula Rasa: Graham Bader on Gerhard Richter." Artforum 49, 1 (September 2010): 97-98.
"Drawing Sense," in Roy Lichtenstein: The Black and White Drawings, 1961-68. Exh. Cat. (New York: Morgan Library and Museum, 2010), pp. 43-51.
"Modern Painting, Modern Iconoclasm," in Target Practice: Critiques of Painting, 1949-1978. Exh. Cat. (Seattle: Seattle Art Museum, 2009), pp. 126-143.
"Political Warhol," in Andy Warhol by Andy Warhol. Exh. Cat. (Oslo: Astrup Fearnley Museum of Modern Art, 2008), pp. 21-27.
"Between Forest and Wall," in Arturo Herrera: Boy and Dwarf (New York: Distributed Art Publishers, 2007), pp. 81-86.
"Die absolute Besonderheit von Kasimir Malewitschs Schwarzem Quadrat" ["The Absolute Particularity of Kazimir Malevich's Black Square"] in Das Schwarze Quadrat: Hommage an Malewitsch. Exh. Cat. (Hamburg: Hamburger Kunsthalle, 2007), pp. 201-206.
"Rauschenberg's Skin." Grey Room 27 (Spring 2007): 104-118.
"The Body Politic: Glitter and Doom at the Metropolitan Museum of Art." Artforum 45 (January 2007): 226-231.
"German Paint, American Eyes, A Global Present," in Christoph Tannert (ed.), New German Painting (Munich: Prestel, 2006), pp. 50-65.
"Donald's Numbness." Oxford Art Journal 29 (March 2006): 95-113. Revised version published in October Files: Roy Lichtenstein (Cambridge: MIT Press, 2009).
"High and Low: Graham Bader on Soft-Core." Artforum 43 (October 2004): 109-110, 283.
"Roy Lichtenstein's Absorbing Landscapes." Art on Paper 5 (November/December 2000): 44-49.