45” on the Street, 2017, as reproduced in Brian Boucher, “Meet the Artist Whose Swastika-Inspired Anti-Trump Logo Has Gone Viral Across the Country,” artnet.com News, August 22, 2017. Courtesy artnet.com News and Mike Mitchell.0.1:Joman, Mein Covfefe, 2017, internet meme. Printed with permission of the artist.
1.1:“If only the Führer knew!” Banner flown during the marches in Wunsiedel, Bavaria in 2017. © Rechts gegen Rechts.
1.2:George Grosz, “Print XVI,” Ecce Homo, 1922/23. Offset lithograph, 10.4 × 7.9 in., 26.4 × 20 cm. Museum of Modern Art, New York. © Estate of George Grosz, Princeton, NJ / VG Bild-Kunst. Copyright Agency, 2018.
1.3:Josephine Meckseper, RAF Tray, 2002. C-print (cebachrome), 20 × 16 in., 50.8 × 40.6 cm. The picture shows showing Meckseper as a cigarette girl (background) with her aunt, a member of the RAF, in the foreground. © Josephine Meckseper / Courtesy Timothy Taylor London/New York.
1.4:Käthe Kollwitz, Die Freiwilligen (The Volunteers), 1922/23. Woodcut, 18.0 × 25.75 in., 47.5 × 65.4 cm. The print shows five volunteer soldiers who have all given their lives to the cause, with Kollwitz’s son Peter in the upper left, in Death’s embrace. Woodcut. Museum of Modern Art, New York/Digital Image. © The Museum of Modern Art / Licensed by SCALA/Art.
1.5:Gustavo Aceves standing next to one of his horses in Lapidarium, in front of the Brandenburg Gate, 2015. © Australscope.
1.6:A view from underneath the glass floor of performers, with audience above, Anne Imhof’s Faust, 2017. © ANSA.
2.1:Hannah Höch and Raoul Hausmann in front of their works at the First International Dada Fair, 1920. On the left is Höch’s Cut with the Kitchen Knife Dada Through the Last Weimar Beer Belly Cultural Epoch of Germany, 1919–20. © 2018 Berlinische Galerie / Foto: Kai-Annett Becker / Artists Rights Society (ARS), New York / ADAGP, Paris / VG Bild-Kunst, Bonn.
2.2:Hannah Höch, Schnitt mit dem Küchenmesser Dada durch die letzte weimarer Bierbauchkulturepoche Deutschlands, (Cut with the Kitchen Knife Dada Through the Last Weimar Beer Belly Cultural Epoch of Germany), 1919. Photomontage and collage on paper, 44.9 × 35.4 in., 114 × 90 cm. Photo: Jörg Anders. Bildarchiv Preussischer Kulturbesitz (Nationalgalerie, Berlin)/Art Resource, New York. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
2.3:Detail of lower-right quadrant of Cut with the Kitchen Knife featuring the phrase “Weltrevolution” (“World Revolution”; undated picture). © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
2.4:Detail of lower-right quadrant of Cut with the Kitchen Knife featuring the phrase “Die große Welt-Dada” (“The great Dada world”).
3.1:Walter Gropius. Bedroom Dwelling Group 9, Siedlung Dammerstock, Karlsruhe, 1928–9. Photographer: Atelier Bauer. Credit: Bauhaus-Archiv Berlin. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
3.2:Walter Gropius. Site plan of Siedlung Dammerstock, Karlsruhe, 1928–9. Credit: Bauhaus-Archiv Berlin. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
3.3:Walter Gropius. Exterior view of Siedlung Dammerstock, Karlsruhe, 1928–9. Photographer: Adolf K. Fr. Supper. Credit: Bauhaus-Archiv Berlin. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
3.4:Walter Gropius. Elevation, plan, and section of Dwelling Group 9, Siedlung Dammerstock, Karlsruhe, 1928–9. Credit: Bauhaus-Archiv Berlin. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
4.1:Oda Schottmüller, Alraune (Mandrake), c. 1941. Photograph of Oda Schottmüller dancing and wearing a mask of her own making © Archiv Susanne und Dieter Kahl, Berlin.
4.2:Oda Schottmüller, Studie zu einer Gartenskulptur (Study for a Garden Sculpture), undated (c. 1941). Plaster, whereabouts unknown. © Archiv Susanne und Dieter Kahl, Berlin.
4.3:Hanna Cauer, Allegretto, 1935–6. Bronze, whereabouts unknown © Bildstelle und Fotoarchiv Stadt Nürnberg.
4.4:Hanna Cauer, Nischenfigur (Niche Figure, or Moderato), 1935–6, exhibited at the Great German Art Exhibition, 1937, in Gallery 15 [at right]. Plaster, dimensions unknown, location unknown © Stadtarchiv München, Fotosammlung; Photo: Georg Schödl, 1937.
4.5:Milly Steger, Kniende (Kneeling Woman), cast stone, 32 in. / 81 cm high; fragment of Kniende as it was discovered as part of the Berliner Skulpturenfund of 2010. Property of the German Federal Republic © Staatliche Museen zu Berlin, Museum für Vor- und Frühgeschichte, Berlin; Photo: Achim Kleuker.
4.6:Milly Steger, Sinnende (Sitzende Figur) (Musing Woman [Seated Figure]), c. 1937. plaster, whereabouts unknown © Bayerische Staatsbibliothek München, Fotoarchiv Hoffmann; Photo: Heinrich Hoffmann, 1937.
5.1:George Grosz, Der Dorfschullehrer (The Country Teacher) in Kleine Grosz-Mappe (Small Grosz Portfolio), 1917. Transfer lithograph, 8.25 × 5.5 in., 20.9 × 13.5 cm. Art © Estate of George Grosz / Licensed by VAGA, New York, NY.
5.2:George Grosz, untitled illustration in Bruno Schönlank, Sonniges Land (Sunny Land), Berlin: Paul Cassirer Verlag, 1920. Art © Estate of George Grosz / Licensed by VAGA, New York, NY.
5.3:George Grosz, cover illustration for Hermynia Zur Mühlen, Was Peterchens Freunde Erzählen (What Little Peter’s Friends Tell Him), 2nd edition, Berlin: Malik-Verlag, 1924. Art © Estate of George Grosz / Licensed by VAGA, New York, NY.
5.4:George Grosz, illustration for Hermynia Zur Mühlen, Was Peterchens Freunde Erzählen (What Little Peter’s Friends Tell Him), 1st edition, Berlin: Malik-Verlag, 1921. Art © Estate of George Grosz / Licensed by VAGA, New York, NY.
5.5:Heinrich Vogeler, illustration for Was Peterchens Freunde Erzählen (What Little Peter’s Friends Tell Him) in Hermynia Zur Mühlen, Es war einmal … und es wird sein: Märchen (Once Upon a Time … and What Will Be: Fairytales), Berlin: Verlag der Jugendinternationale, 1930.
5.6:“Militarization of Children,” part of the exhibition Nature of the Enemy, Office of War Information (OWI), Rockefeller Plaza, New York, 1943. Photograph by Arthur S. Siegel, United States Holocaust Memorial Museum, Washington, D.C.
5.7:George Grosz, God of War, 1940. Oil on canvas, 3ft. 11 in. × 2 ft. 11.5 in., 119.5 × 90 cm. Art © Estate of George Grosz / Licensed by VAGA, New York, NY.
6.1:Ella Bergmann-Michel, Wahlkampf 1932 (Letzte Wahl), 1932 (Figures 6.1–6.2 and 6.4–6.8). A Litfaßsäule plastered with campaign posters vies for voters ahead of the November 1932 national vote. Screenshot.
6.2:A close-up of a poster for the Center Party list for the November 1932 elections. Screenshot.
6.3:On a Berlin Litfaßsäule, the profile of the murderer in Fritz Lang’s M (1931) casts a shadow on the wanted poster describing his own crimes. Screenshot.
6.4:Pedestrians gathered before a Frankfurt NSDAP outfitting shop stare sternly at Ella Bergmann-Michel as she films. Screenshot.
6.5:A rally attendee heckles the filmmaker while she works. Screenshot.
6.6:A frame from the final shot of Letzte Wahl, of a poster advertising for a February 1932 lecture by novelist Alfred Döblin for neue frankfurt. Screenshot.
6.7:Hitler and Hindenburg stare down from a tattered poster appealing to voters before the March 1933 election that completed the Nazi takeover. Screenshot.
6.8:Below the poster of Hitler and Hindenburg, a provocative blank space that Bergmann-Michel compels us to contemplate. Screenshot.
6.9:The complete campaign poster featuring Hitler and Hindenburg, created for the March 1932 election. The poster reads: “Never shall the Reich be destroyed if you are united and faithful.” Reprinted courtesy of Art Resource. Credit: bpk Bildagentur / Heinrich Hoffmann (1885–1957).
7.1:The Airforce Thunderbirds aerial demonstration team flies over the opening of a Minnesota Twins game. © Department of Defense, July, 2009.
7.2:Meryl Streep as Mother Courage in the Delacort Theater production. © Kino Lorber/Kanopy, 2008.
7.3:Meryl Streep at the 2012 Academy Awards. © Associated Press, 2012.
8.1:Anonymous, Portrait of Donald Trump, 2016, retweeted by chelsanity.
8.2:Anonymous, Appropriation of John Heartfield’s Self Portrait with President Zörgiebel, 1929 for use in the London student protests. Mona Lisa beheads George Osborne, British Conservative Party politician and Chancellor of the Exchequer, 2014, internet meme.
8.3:Puma Superstructure advertisement, Bus Stop in Berlin, Germany, 2009. Photograph by Author.
8.4:Anonymous, Portrait of Donald Trump, 2016, internet meme.
8.5:John Heartfield, Wer Bürgerblätter liest wird blind und taub! Weg mit den Verdummungsbandagen! (Whoever reads bourgeois newspapers becomes blind and deaf. Away with the stultifying bandages!), AIZ 9, no. 6, 1930. Getty Research Institute, Los Angeles (87-S194).
8.6:John Heartfield, Der Sinn des Hitlergrusses (The Meaning of the Hitler Salute), AIZ 11, no. 42, 1932. Getty Research Institute, Los Angeles (87-S194).
8.7:Phil Kremer, Portrait of Donald Trump, n.d. Reprinted with permission of the artist.
8.8:Creator unknown, Memorial Plaque of The Bowling Green Massacre, 2016, internet meme.
8.9:Creator unknown, Fusion of Donald Trump and Richard Nixon, 2017, internet meme.
9.1:Otto Dix, Der Senn Joseph (Joseph the Dairyman), 1934. Silverpoint and pencil on cardboard. 11.7 × 5.8 in., 32.2 × 24.8 cm. Kupferstichkabinett, Staatliche Museen, Berlin. Inv SZ Dix 12. Kupferstichkabinett, Staatliche Museen, Berlin. Photo: bpk Bildagentur / Staatliche Museen Berlin / Art Resource, NY. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
9.2:Otto Dix, Der Senn Ephraim (Ephraim the Dairyman), 1934. Silverpoint and pencil on primed paper. 11.7 × 6 in., 32.5 × 25 cm. Private Collection. Photo: Courtesy of Otto Dix Estate, Bevaix, Switzerland. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
9.3:Otto Dix, Selbstbildnis als Zeichner (Self-Portrait Drawing), 1933. Silverpoint and pencil on primed paper. 12.8 × 18.6 in., 58.3 × 47.2 cm. Inv. SZ Dix 10. Kupferstichkabinett, Staatliche Museen, Berlin. Photo: bpk Bildagentur / Staatliche Museen Berlin / Jörg P. Anders / Art Resource, NY. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
9.4:Hans Baldung-Grien (1484–1545), Karlsruher Skizzenbuch (Sketchbook of Hans Baldung-Grien), fol. 58 recto. Münster Preacher Caspar Hedio, 1543. Silverpoint on primed paper. Inv.-Nr. VIII 1062. Staatliche Kunsthalle, Karlsruhe. Photo: bpk / Staatliche Kunsthalle, Karlsruhe / Art Resource, NY.
9.5:Erna Lendvai-Dircksen, Der Hulebauer, Rauhe Alb (Swabian Farmer). 1932, as published in Das Deutsche Volksgesicht (Face of the German Folk). Photo: Author.
9.6:Otto Dix, Der Judenfriedhof von Randegg (The Jewish Cemetery of Randegg), 1934. Silverpoint. 19.1 × 21 in., 48.6 × 53.2 cm. Kunstmuseum Albstadt (Stiftung Sammlung Walther Groz) Inv. Nr. SWG 76/574, Photo: Courtesy Kunstmuseum Albstadt. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
9.7:Otto Dix, Judenfriedhof in Randegg im Winter mit Hohenstoffeln (The Jewish Cemetery in Randegg in the Winter with the Hohenstoffeln), 1935, oil on panel, 23.6 × 31.5 in., 60 × 80 cm. Inv. Nr. Nl 919. Saarlandmuseum Saarbrücken, Stiftung Saarländischer Kulturbesitz. Photo: Tom Gundelwein. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
9.8:Eduard Thöny, “Das künftige Oberland” (“The Future Heights”), Simplicissimus 24, no. 22, August 26, 1919. Photo: Courtesy Herzogin Anna Amalia Bibliothek Weimar / Hans Zimmermann.
9.9:“Tiroler Aufstand 1921 (Frei nach Defregger)” (“Tyrolean Rebellion 1921 [Loosely after Defregger]”), Kladderadatsch, October 30, 1921. Photo: Courtesy Universitätsbibliothek Heidelberg.
10.1:Ursula Wilms and Heinz Hallmann, Topography of Terror, 2006–10, Berlin. https://commons.wikimedia.org/
10.2:Daniel Libeskind, Jewish Museum, 1989–99, Berlin. https://commons.wikimedia.org/
10.3:Peter Eisenman, Memorial to the Murdered Jews of Europe, 1997–2005, Berlin. https://commons.wikimedia.org/
10.4:Aldo Rossi, IBA Housing, 1987, Berlin. Courtesy of Livia Hurley.
10.5:Prince Albrecht Palace, 1737–9, Berlin, as remodeled by Karl Friedrich Schinkel in the 1830s. https://commons.wikimedia.org/
10.6:Ursula Wilms and Heinz Hallmann, Documentation Center, Topography of Terror, 2006–10, Berlin. https://commons.wikimedia.org/
10.7:Martin Gropius and Heino Schmieden, Martin Gropius Building, 1877–81, Berlin. https://commons.wikimedia.org/
10.8:Bielandberg and Moser, Europa Building, 1926–31, rebuilt 1959–66, Berlin. https://commons.wikimedia.org/
10.9:Ernst Sagebiel, Detlev Rohwedder Building as seen from the Topography of Terror, 1935–6, Berlin. https://commons.wikimedia.org/
11.1:Willi Baumeister, Jokkmokmädchen (Maiden from Jokkmok), 1941, collage on a postcard of Adolf Ziegler, Terpsichore, 1937, 5.8 × 4.1 in., 14.9 × 10.5 cm. Archiv Baumeister im Kunstmuseum Stuttgart © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
11.2:Willi Baumeister, Altered Avenger, pen and ink drawing on reproduction of Arno Breker, The Avenger, page 194 from article “Die Grosse Deutsche Kunstausstellung 1941, II,” Kunst dem Volk (Vienna), September 1941, Archiv Baumeister im Kunstmuseum Stuttgart © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
11.3:Twitler, Facebook screenshot, September 7, 2017.
11.4:Oskar Schlemmer, Postcard to Willi Baumeister, 1912, collage, 4.1 × 5.8 in., 10.5 × 14.9 cm. Archiv Baumeister im Kunstmuseum Stuttgart.
11.5:Franz Krause front of postcard to Willi Baumeister, c. 1942, collage and pen and ink, 5.8 × 4.1 in., 14.9 × 10.5 cm. Archiv Baumeister im Kunstmuseum Stuttgart.
11.6:Franz Krause back of postcard to Willi Baumeister, c. 1942, pencil, 4.1 × 5.8 in., 10.5 × 14.9 cm. Archiv Baumeister im Kunstmuseum Stuttgart.
11.7:Franz Krause, front of field postcard to Willi Baumeister, c. 1942, pen and ink and stamps, 4.1 × 5.8 in., 10.5 × 14.9 cm. Archiv Baumeister im Kunstmuseum Stuttgart.
11.8:Franz Krause, back of field postcard to Willi Baumeister, c. 1942, pen and ink, 4.1 × 5.8 in., 10.5 × 14.9 cm. Archiv Baumeister im Kunstmuseum Stuttgart.
11.9:Robert Michel, Postcard to Willi Baumeister and Family, November 21, 1936, typed text and pen and ink, 4.1 × 5.8 in., 10.5 × 14.9 cm. Archiv Baumeister im Kunstmuseum Stuttgart. © 2018 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn.
11.10:Robin Bell, #Emoluments Welcome, projection on Trump International Hotel, Washington DC, May 15, 2017, as circulated on Twitter. Photo by Liz Gorman/bellvisuals.com.
11.11:Mike Mitchell, “ 45” on the Street, 2017, as reproduced in Brian Boucher, “Meet the Artist Whose Swastika-Inspired Anti-Trump Logo Has Gone Viral Across the Country,” artnet.com News, August 22, 2017. Courtesy artnet.com News and Mike Mitchell.
12.1:Helmut Lachenmann, Das Mädchen mit den Schwefelhölzern (The Little Match Girl), Wiesbaden: Breitkopf & Härtel, 2007, page 173, measures 196–203.
13.1:Marcel Odenbach, Abgelegt und Aufgehangen (Put Down and Hung Up), 2013; collage: ink on paper 7 ft. 5 in. × 6 ft. 10 in., 225 × 208 cm. Sammlung Hildebrand, Leipzig. Photo: Vesko Gösel. Courtesy the artist and Anton Kern Gallery, New York. © VG Bild-Kunst, Bonn 2018.
13.2:Marcel Odenbach, collages at an intermediate stage of production. Photo: Vesko Gösel. © Marcel Odenbach.
13.3:Marcel Odenbach, Mahnmal für die Opfer des Nationalsozialismus unter Freiburger Universitätsangehörigen (Memorial for the Victims of National Socialism among the Students, Staff, and Faculty of the University of Freiburg), 2005; collage: c. 36 ft. 1 in. × 2 ft. 11 in., 28 × 2 m. University of Freiburg, Germany. Photo: Sandra Meyndt / Universität Freiburg. © VG Bild-Kunst, Bonn 2018.
13.4:Marcel Odenbach, Die Gute Stube (The Nice Parlor), 2011; collage, ink on paper: 5 ft. 7 in. × 4 ft. 7 in., 170 × 140 cm. Sammlung Philara, Düsseldorf. © Photo: Vesko Gösel. Courtesy Galerie Gisela Capitain, Cologne. © VG Bild-Kunst, Bonn 2018.
13.5:Martha Rosler, Patio View. From the series Bringing the War Home: House Beautiful, 1967–74; photomontage. © Martha Rosler.
13.6:John Heartfield, Alle Fäuste zu einer geballt (All Fists Clenched as One), Oct. 4, 1934; photomontage, rotogravure: 15 × 11 in., 38.2 × 28 cm. © VG Bild-Kunst, Bonn 2018.
13.7:Thomas Hirschhorn, Collage-Truth no. 20, 2012; photo collage: 14.6 × 12 in., 37 × 30.5 cm., private collection. Courtesy of the artist and Office Galerie Susanna Kulli, Zürich. © VG Bild-Kunst, Bonn 2018.
13.8:Thomas Hirschhorn, Ur-Collage 130, 2008; photo collage: 17.7 × 11.6 in., 45 × 29.5 cm. Courtesy of the artist. © VG Bild-Kunst, Bonn 2018.
13.9:Thomas Hirschhorn, Ur-Collage B XXIV, 2008; photo collage: 21.8 × 14.6 in., 55.5 × 37 cm. Collection Princeton University Art Museum, Laura P. Hall Memorial Fund. Courtesy of the artist. © VG Bild-Kunst, Bonn 2018.