Annotated Bibliography

Colpitt, Frances. “Kiefer as occult poet: a currently traveling survey of Anselm kiefer’s work re-accesses his career, downplaying political controversy in favor of transhistorical mysticism.(Anselm Kiefer).” Art in American, March 2006: P104 (8)

The article “Kiefer as occult poet: a currently traveling survey of Anselm Kiefer’s work re-accesses his career, downplaying political controversy in favor of transhistorical mysticism.(Anselm Kiefer)" by Colpitt Frances is talking about Anselm Kiefer’s art works and the essential goal behind the arts. Kiefer’ works that embrace earthy organic materials, with their dense physically and loaded content – ranging from meditation on the Holocaust to the mysteries of creativity—presented revitalized and expanded possibilities for paintings.

Johnson, Ken. “The Tragic Sublime And Concrete Rubble.” The New York Times, Jan 4, 2008. PE 40(L)

The article “The Tragic Sublime And Concrete Rubble.” by Johnson, Ken is talking about contents Kiefer’s delivered. Kiefer transformed raw materials into art and transformed the raw history of Germany into mythology of redemption and rebirth.

Kimmelman, Michael. “Anselm Kiefer Explores And Confronts the Past.” The New York Times, May 11, 1990

The article “Anselm Kiefer Explores And Confronts the Past.” by Kimmelman, Michael is talking about that Kiefer wants to recreate the Germany and resurrect German culture. Mr. Kiefer has sought to surmount that surmount that past, to exorcise ghosts, to resurrect German culture.


Klefstad, Ann. “Anselm Kiefer’s Falling Stars.” Sculpture (Washington, D.C.)26, 2007


The article “Anselm Kiefer’s Falling Stars.” by Klefstad, Ann is talking about Kiefer’s goal behind the arts. In a nation gutted by its own fascist narratives and their malign effects, he strove to re-create not a triumphalist narrative of German culture but a truthful one.


Marty, Martin E. “The true and the gray.” The Christian Century, Dec 13, 2005 : P63(1)

The article “The true and the gray” by Marty, Martin E is talking about the color Kiefer used in his art works. Kiefer always uses monotonous dark color. The color of his art works is grayish. Because he believes that truth is always gray.

Paul, Steve. “Kiefer, Anselm. Anselm Kiefer: Heaven and earth.” Booklist, Nov 2005 :P12(1)


The article “Kiefer, Anselm. Anselm Kiefer: Heaven and earth.” by Paul, Steve is talking about the world within Kiefer’s mind. Kiefer’s world is famously gray, typified by his extensive use of lead as a symbol of ambiguity, alchemy, and human potential.


Rusell, John. “ART REVIEW; Inventing his Own Germany In Kiefer’s Art, a Palette is the Mythical Force.” The New York Times, Dec 17, 1998

The article “ART REVIEW; Inventing his Own Germany In Kiefer’s Art, a Palette is the Mythical Force” by Rusell, John is talking about the impact of after war toward Anselm Kiefer. As Kiefer born in March 1945 and has always treated the Nazis with irony, ridicule and contempt, he cannot be called “Nazi-tainted.” He wants to have some changes.

Rusell, John. “A Kiefer Retrospective.” The New York Times, Dec 5, 1987

The article “A Kiefer Retrospective” by Rusell, John is talking about why Kiefer’s art works are so famous. Kiefer’s works move us because the works are about the plight of mankind, and about the ways in which certain connections, long dormant within us, can be reactivated, while others, less desirable, can be outfaced and defused.

Rusell, John. “From the Particular to the sublime.” The New York Times, Dec 13, 1987

The article “From the Particular to the sublime” by Rusell, John is talking about the reason why Kiefer is different from other artists. Kiefer is not painter of historical subjects, but a painter who bears those subjects on his back and brings them into a universal present.

Smith, Roberta. “Provocative Paintings Form Anselm Kiefer.” The New York Times, Oct 14, 1988

The article “Provocative Paintings Form Anselm Kiefer” by Smith, Roberta is talking about contents of Kiefer’s works. Kiefer’s art works emphasize on myth and religion and authoritarian architecture requires a suspension of modern disbelief that is often hard to muster. Their moral zeal is corroborated by a certain visual inertness and even drabness.

Temin, Chirstine. “A New Carvas For The First Time, A kiefer show Focus On His Photography.” Boston Globe 16, 2002. Pg E.13

The article “A New Carvas For The First Time, A Kiefer show Focus On His Photography” by Temin, Chirstine is talking about Kiefer’s art technique. No matter what Kiefer’s subject, he makes it beautiful, through lush textures, old materials, and masterful handling of paint.


Wennerstorm, Nord. “Anselm Kiefer: Modern Art Museum of Fort Worth.” Artforum International, March 2006: P299 (2)

The article “Anselm Kiefer: Modern Art Museum of Fort Worth” by Wennerstorm, Nord is talking about why Kiefer is searching for heaven. Kiefer says that “We cannot stand not to have a heaven in our minds.” His works help him to search for heaven and a place to set his spirit on.