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‚Äôs central figures.¬† Paying renewed attention to Schwitters‚Äô 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.
‚ÄúReinventing Vision, Page by Page.‚ÄĚ¬†¬†Art History, vol. 41, no. 2 (April 2018): 382-385.
‚ÄúTrains of Thought: Graham Bader on the Art of Reinhard Mucha.‚ÄĚ¬†Artforum¬†56, 5 (January 2018): 188-197, 238.
‚ÄúView Master: Graham Bader on Formalism and Historicity.‚ÄĚ¬†Artforum¬†54, 7 (March 2016): 85-86.
‚ÄúVie et mort sur Silver Screen (vers 1963-1964),‚ÄĚ in¬†Warhol Unlimited¬†Exh. Cat.(Paris: Mus√©e d‚ÄôArt moderne de la Ville de Paris, 2015), pp. 90-94.
‚ÄúLife in the Democracy and the Aftermath of War,‚ÄĚ in¬†New Realities and¬†Neue Sachlichkeit¬†Exh. Cat. (Los Angeles: Los Angeles County Museum of Art, 2015), pp. 123-132.
‚ÄúSigmar Polke‚ÄĚ (featured exhibition review).¬†Artforum¬†53, 1 (September 2014): 367-368.
‚ÄúFace aux Mirrors de Lichtenstein,‚ÄĚ¬†in¬†Roy Lichtenstein¬†(Paris:¬†Centre Pompidou, 2013), pp. 110-117.
‚ÄúGary Hume Paints a Picture,‚ÄĚ 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.
‚ÄúImages in Distress‚ÄĚ 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.
‚ÄúTabula 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.