Publications

Books:

Isabel Wünsche and Wiebke Gronemeyer (eds.), Practices of Abstract Art: Between Anarchism and Appropriation, Newcastle, UK: Cambridge Scholars Publishing, 2016.
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Tanja Malycheva and Isabel Wünsche (eds.), Marianne Werefkin and the Women Artists in Her Circle, Amsterdam: Brill/Rodopi, 2016.

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Isabel Wünsche, The Organic School of the Russian Avant-Garde: Nature’s Creative Principles, Farnham, UK: Ashgate, 2015.

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Paul Crowther and Isabel Wünsche (eds.), Meanings of Abstract Art: Between Nature and Theory, London: Routledge, 2012.

 

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Isabel Wünsche, Kunst & Leben. Michail Matjuschin und die Organische Kultur in der russischen Avantgarde, Köln: Böhlau, 2012.

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Oliver A. I. Botar and Isabel Wünsche (eds.), Biocentrism and Modernism, Farnham, UK: Ashgate, 2011.

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Harmonie und Synthese. Die russische Moderne zwischen universellem Anspruch und nationaler kultureller Identität, München: Wilhelm Fink Verlag, 2008

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Book Review:

– Frank Kämpfer in Jahrbücher für Geschichte Osteuropas, Band 58 (2010) Heft 3, S. 471-471
http://www.oei-dokumente.de/JGO/Rez/Kaempfer_Wuensche_Harmonie_und_Synthese.html
– Nina Gourianova in THE STRUCTURIST, No. 49/50, 2009/2010

Ada Raev, Isabel Wünsche (eds.), Kursschwankungen: Russische Kunst im Wertesystem der europäischen Moderne, Berlin: Lukas Verlag, 2007.

 

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Book Review:
– Verena Krieger in sehepunkte 9, Nr. 10 http://www.sehepunkte.de/2009/10/13983.html
– Tanja Zimmermann in Osteuropa 9/2009
– John Milner and Eva-Viktoria Kwapil, Courtauld Institute of Art, London, in: Slavic Review.
– Interdisciplinary quarterly of Russian, Eurasian and East European studies, vol. 68, no. 2
– Frank Kämpfer in Jahrbücher für Geschichte Osteuropas, Band 58 (2010) Heft 3, S. 439-439
http://www.oei-dokumente.de/JGO/Rez/Kaempfer_Raev_Kursschwankungen.html

 

Isabel Wünsche, Galka E. Scheyer & The Blue Four: Correspondence 1924-1945, Berne: Benteli, 2006.

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Isabel Wünsche, Galka E. Scheyer & Die Blaue Vier: Briefwechsel 1924-1945, Berne: Benteli, 2006.

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Book Review:
– Patricia Railing in The Art Book, Volume 13, Issue 4, pages 26–27, November 2006
– Patricia Railing in THE STRUCTURIST, No. 47/48, 2007/2008, pp. 117-120.
– Adrienne Kochman in CENTROPA, Volume VIII, Number 1 (January 2008 )

Das Kunstkonzept der Organische Kultur in der Kunst der russischen Avantgarde, Dissertation Ruprecht-Karls-Universität Heidelberg, Ketsch: Microform Dissertation, 1997.

Book Chapters and Essays:

“Von der Metaphysik zur Psychophysik: Reflexionen zum Wesen des künstlerischen Schaffensprozesses in den kunsttheoretischen Schriften von Nikolaj Kulbin und Wassily Kandinsky” (From Metaphysics to Psychophysics: Reflections on the Nature of Artistic Creativity in the Writings of Nikolai Kulbin and Wassily Kandinsky), in: Frank Thomas Grub, Edgar Platen, Siegfried Ulbrecht, Helena Ulbrechtova (eds.), Literatur und Wissen, Prague: Academy of Sciences, Dresden: Neisse Verlag (forthcoming)

 

“Transgressing National Borders and Artistic Styles: The November Group and the International Avant-Garde in Berlin during the Interwar Period,” in Art/Histories in Transcultural Dynamics, Late 19th to Early 21st Centuries, Munich: Willhelm Fink, 2015 (in press)

 

“From Vorkurs to vertikale Brigaden: Visual Arts Education at the Bauhaus,” in Bauhaus – Networking Ideas and Practice (BAUNET), exh. cat., Zagreb: Museum of Contemporary Art, 2015 (in press).

 

“California Modernism, European Émigré Artists, and the Summer Sessions at Mills College in Oakland, California,” in Amy Levin (ed.), Museums, Migration, and Immigration, London: Routledge (forthcoming)
“Western Modernism at and beyond the Margins: František Kupka and Margaret Preston,” in Hans Kippenberg, Birgit Mersmann (eds.), The Humanities between Global Integration and Cultural Diversity, Berlin: De Gruyter (forthcoming)

 

“Der Sturm und Die Abstrakten – Internationale Vereinigung der Expressionisten, Futuristen, Kubisten und Konstruktivisten e.V.” (Der Sturm and Die Abstrakten – International Association of the Expressionists, Futurists, Cubists, and Constructivists), in Henriette Herwig and Andrea von Hülsen-Esch (eds.), Der Sturm – Literatur, Musik, Graphik und die Vernetzung in der Zeit des Expressionismus (Der Sturm – Literature, Musik, Graphic Works and Networking in the Period of Expressionism), Berlin: De Gruyter, 2015, pp. 356-375.

 

“Elena Guro: On the Crossroads between Symbolism, Organicism and Cubo-Futurism,” in International Yearbook of Futurism Studies, special issue Women Artists and Futurism, ed. Günter Berghaus, Berlin: De Gruyter, 2015, pp. 266-291.
“Kunst und Revolution. Der Konstruktivismus und die Politik” (“Art and Revolution: Constructivism and Politics”, Alla Chilova and Ortrud Westheider (eds.), Rodtschenko. Eine neue Zeit (Alexander Rodchenko: A New Time), exh. cat., Hamburg: Bucerius Kunst Forum; Munich: Hirmer, 2013, pp. 22-33.
“The Evolution of Human Eyesight: Mikhail Matiushin’s Organic Culture in the Art of the Russian Avant-Garde,” Australian and New Zealand Journal of Art (2012): 25-41.
“Life into Art: Nature Philosophy, the Life Sciences, and Abstract Art,” in Paul Crowther and Isabel Wünsche (eds.), Meanings of Abstract Art: Between Nature and Theory, London: Routledge, 2012, pp. 9-29.
“Mills College, Oakland, California: Ein Liberal Arts College als Anlaufpunkt, Arbeitgeber und Vernetzungsort für Künstler und Kunsthistoriker an der Westküste (Mills College, Oakland, California: A Liberal Arts College as Arrival Place, Employer, and Networking Structure for Artists and Art Historians at the West Coast), in Burcu Dogramaci and Karin Wimmer (eds.), Netzwerke des Exils. Künstlerische Verflechtungen, Austausch und Patronage nach 1933 (Exile Networks: Artistic Relations, Exchange, and Patronage after 1933), Berlin: Gebr. Mann, 2011, pp. 333-354.
“Sammlerinnen im Dienste der Kunstvermittlung – Katherine S. Dreier, Galka E. Scheyer und Hilla von Rebay (Female Collectors Promoting Art Education: Katherine S. Dreier, Galka E. Scheyer und Hilla von Rebay),” in Ulrike Wolff-Thomsen and Sven Kuhrau (eds.), Geschmacksgeschichte(n). Öffentliches und privates Kunstsammeln in Deutschland 1871-1933 (Histories of Taste: Public and Private Art Collecting in Germany 1871-1933), Kiel: Ludwig, 2011, pp. 194-215.
“Kasimir Malewitsch. Das Schwarze Quadrat” (Kazimir Malevich: The Black Square), in Jochen Brüning, Peter Deuflhard, and Christoph Markschies (eds.), Atlas der Weltbilder (Atlas of Worldviews), Berlin: Akademie-Verlag, 2011, pp. 354-365.
“Seeing Sound—Hearing Colour: The Synaesthetic Experience in Russian Avant-Garde Art,” in Charlotte de Mille (ed.), Music and Modernism, Newcastle upon Tyne: Cambridge Scholars Publishing, 2011, pp. 95-120.
“Organic Visions and Biological Models in Russian Avant-Garde Art,” in Oliver A. I. Botar and Isabel Wünsche (eds.), Biocentrism and Modernism, Farnham, UK: Ashgate, 2011, pp. 127-152.

 

“From Cultural Provincialism to Art Establishment: The Silesia Artists’ Union in Breslau,” Centropa, Vol. 11, No. 1 (January 2011): 48-65.
“In Pursuit of a Spiritual Calling: Katherine S. Dreier, Galka E. Scheyer, and Hilla von Rebay,” in Amy K. Levin (ed.), Gender, Sexuality and Museums: A Routledge Reader, London: Routledge, 2010, pp. 213-228.

 

“Living Crystals: The Roots of Mikhail Matyushin’s Spatial Realism,” The Structurist, No. 49-50 (2009-2010): 51-57.

 

“Wassily Kandinsky und František Kupka. Alternativen zum Kubismus” (Wassily Kandinsky and František Kupka: Alternatives to Cubism), in Die Ost-West-Problematik in den europäischen Kulturen und Literaturen. Ausgewählte Aspekte (The East-West-Problem in European Cultures and Literatures: Selected Aspects), Prague: Academy of Sciences, Dresden: Neisse Verlag, 2009, pp. 205-227.
“František Kupka: Creation in Nature and Art,” The Structurist, No. 47-48 (2007-2008): 64-69.
“The Heritage of the Russian Avant-Garde: Vladimir Sterligov and His School,” Journal of the Jane Voorhees Zimmerli Museum of Art (Fall 2008): 6-23.
“Einheit und Vielfalt: Die gewandelten Perspektiven in der Betrachtung der europäischen Moderne” (Unity and Diversity: Changes in the Study of European Modernism), in Ada Raev and Isabel Wünsche (eds.), Kursschwankungen: Die russische Kunst im Wertesystem der europäischen Moderne (Fluctuations: Russian Art within the Value System of European Modernism), Berlin: Lukas, 2007, pp. 19-29.
Götz Pfander and Isabel Wünsche, “Exploring Infinity: Number Sequences in Modern Art,” Arkhai, 12 (April 2007): 41-66.
“Biocentric Modernism: The Other Side of the Avant-Garde,” in Vojtech Lahoda (ed.), Local Strategies. International Ambitions: Modern Art in Central Europe, 1918 –1968, Prague: Academy of Sciences, 2006, pp. 125-132.
“Lebendige Formen und bewegte Linien: Organische Abstraktionen in der Kunst der klassischen Moderne” (Living Forms and Moving Lines: Organic Abstraction in Modern Art), in Floating Forms: Abstract Art Now, exh. cat., Bielefeld: Kerber, 2006, pp. 10-22.
“Naturerfahrung als künstlerische Methode: Organische Visionen in der Kunst der klassischen Moderne” (Experience of Nature as Artistic Method: Organic Visions in the Art of Classical Modernism), in Elke Bippus and Andrea Sick (eds.), Industrialsierung und Technologisierung von Kunst und Wissenschaft (Industrialization and Technologization of Art and Science), Bielefeld: Transcript, 2005, pp. 86-108.

 

“Die universelle Bewegung des Lichtes in der Malerei des frühen 20. Jahrhanderts” (The Universal Movement of Light in Painting of the Early 20th Century), in Berlin-Brandenburgischen Akademie der Wissenschaften (ed.), Gegenworte: Hefte für den Disput über Wissen (Counter-Words: Booklets for the Discussion about Knowledge), 15 (Spring 2005): 77-81.

 

“Organische Modelle in der Kunst der klassischen Moderne,” (Organic Models in the Art of Classical Modernism), in Annette Geiger, Stefanie Hennecke, and Christin Kempf (eds.), Spielarten des Organischen in Architektur, Design und Kunst (Variations of the Organic in Architecture, Design, and Art), Berlin: Reimer, 2005, pp. 97-111.
“Zwischen den Welten: Von Intellektuellen, Professionals und Bürokraten,” (Between Worlds: About Intellectuals, Professionals, and Bureaucrats), Zeitschrift für Geschichtswissenschaft (Journal for History), 10 (2004): 926-935.
“The Sixth Sense: Utopia and Reality in Russian Avant-Garde Art,” in Freia Hardt (ed.), Mapping the World – New Perspectives in the Humanities and Social Sciences, Tübingen: A. Francke Verlag, 2004, pp. 65-80.
“Biological Metaphors in 20th-Century Art and Design,” YLEM Journal: Artists Using Science & Technology, 8 (2003) 23: 4-10.
“Biotsentrichniiat Modernizm: drugata strana na avangarda” (Biocentric Modernism: The Other Side of the Avant-Garde), Sledva 6 (August 2003): 20-33.
“Marina Abramovic: Walking the Great Wall of China,” in Ars Photographica: Künstlerbücher – Fotografie (Ars Photographica: Artist Books – Photography), Bremen: Neues Museum Weserburg, 2002, pp. 52-59.
“Homo Sovieticus: The Athletic Motif in the Design of the Dinamo Metro Station,” Studies in The Decorative Arts, 7 (Spring-Summer 2000), 2: 65-90.
“Intensifying Perception and Conceptualizing Nature: Organica in European and American Art of the Post-War Period,” in Organica/Organic: The Non-Objective World of Nature in the Russian Avant-Garde of the 20th Century, exh. cat., Cologne: Galerie Gmurzynska, 1999, pp. 104-109.
“M. V. Matiushin’s Organic Culture: Harmonious Development in Nature and Man,” in Studia Slavica Finlandensia, XVI/2 (1999): 50-64. “Galka Scheyer und die Blaue Vier” (Galka Scheyer and the Blue Four), in Sonderdruck der Berner Kunstmitteilungen. Berne: Kunstmuseum Bern, 1997, pp. 5-15.
“Suprematistische Formelemente und organische Farblösungen in der sowjetischen Architektur und Ausstellungsgestaltung” (Suprematist Form-Elements and Organic Color Solutions in Soviet Architecture and Exhibition Design), in Pantheon Jahrbuch (Pantheon Yearbook) 1996, pp. 135-143.
“Mikhail Matiushin And His Dream,” in Experiment, 1(1995): 229-233.
“From Ornament to Design,” in Colors and Words: Chromolithography in Late Imperial and Early Soviet Russia, exh. cat., Los Angeles: Institute of Modern Russian Culture, 1994, pp. 12-22.
Selected Reviews:

“Abstraktion und Realismus im Literatur- und Kunstdiskurs der russischen Avantgarde” (Abstraction and Realism in the Literary and Artistic Discourses of the Russian Avant-Garde). By Tanja Zimmermann. Wiener Slawistischer Almanach, no. 68. München: Verlag Otto Sagner, 2007,” Slavic Review, 67 (Fall 2008) 3.
“Ulrike Goeschen, Vom sozialistischen Realismus zur Kunst im Sozialismus. Die Rezeption der Moderne in Kunst und Kunstwissenschaft der DDR (From Socialist Realism to Art in Socialism: The Reception of Modernism in Art and Art History Writing of the G.D.R.), Berlin: Duncker & Humblot, 2001,” Centropa, V/1 (January 2005): 81-84.
“central european avant-gardes: exchange and transformation, 1910-1930 by Timothy O. Benson, Los Angeles County Museum of Art and Cambridge, USA: MIT Press, 2002” and “between worlds: a sourcebook of central european avant-gardes, 1910-1930 by Timothy O. Benson and Éva Forgács, Los Angeles County Museum of Art and Cambridge, USA: MIT Press, 2002,” The Structurist, 43/44 (2003-2004): 106-112.

“Selected Exhibition List,” in Vivian E. Barnett, The Blue Four Collection at the Norton Simon Museum, New Haven, London: Yale University Press, 2002, pp. 482-485.
“Acquisitions of American Art: Photographs and Decorative Arts for the Years 1999 and 2000,” The Huntington Spectator (Fall 2001): 2-3.
“Art Acquisitions 1999-2000: American Paintings, Sculptures, Prints, and Drawings,” The Huntington Spectator (Spring 2001): 2-4.
“The Russian and Soviet Holdings at the Getty Research Institute, Los Angeles,” Bulletin of the Society of Historians of East European and Russian Art and Architecture, 6 (Winter 2001) 1: 8-9.
“Modern Art in Eastern Europe: From the Baltic to the Balkans, ca. 1890-1939 by Steven Mansbach, Cambridge, UK and New York, USA: Cambridge University Press, 1999,” The Structurist, 39/40 (1999-2000): 90-94.
“Monuments of the Future: Designs by El Lissitzky, Exhibition and Conference at the Getty Research Institute, Los Angeles,” The Structurist, 39/40 (1999-2000): 117-121.
“Organica/Organic: The Non-Objective World of Nature in the Russian Avant-Garde of the 20th Century, Exhibition, Catalogue, and Symposium, Cologne: Galerie Gmurzynska, 1999,” The Structurist, 39/40 (1999-2000): 131-136.
“Matjuschin und die Leningrader Avantgarde,” The Structurist, 35/36(1995/96): 137-142.
“‘The Spirit of Modernism’ in Los Angeles – Die Sammlerin Galka Scheyer” (The Spirit of Modernism in Los Angeles: The Collector Galka Scheyer), neue bildende kunst, 1 (1995): 76.
“Vladimir Tatlin. Retrospektive.” “Vladimir Tatlin. Leben-Wirkung-Werk.” The Structurist , 33/34(1993/94): 116-122.
Exhibition Catalogues: Colors and Words: Chromolithography in Late Imperial and Early Soviet Russia, Los Angeles: Institute of Modern Russian Culture, 1994.