Claudia Mesch

Recent Publications

• "Game-Based Learning in the Introductory Art History Course: Weaving Historical Contexts and Incentivizing Critical Looking," AMPS Proceedings Series 28:1, A Focus on Pedagogy: Teaching, Learning and Research in the Modern Academy, ed. Zain Adil (2023): 230-239
• Modern Art at the Berlin Wall: Demarcating Culture in the Cold War Germanys (I.B. Tauris, paperback edition/reprint, 2018)
• Joseph Beuys (Reaktion Books, London, 2017)
• Beyond the Horizon: Armand Morin & Ernesto Sartori, ed. Claudia de Forêt (Yuma AZ: Yuma Art Center, June, 2016)
• “L’Institutionalisation de la sculpture sociale: le Bureau pou la démocratie directe par referendum de Beuys,” in Mathieu Copeland, ed., l’exposition d’un film, trans. Chloé Pelletrin (Dijon: Les Presses du reel, 2015), 176-179
• “Shadows of the Colonial: David Hare, Empathetic Perception, and Ethnographic Surrealism in the 1940s,” South Central Review Vol. 32 No. 1 (Spring 2015): 76-95
• Art and Politics: a Small History of Art for Social Change Since 1945 (I.B. Tauris, 2013)
• “Sculpture in Fog: Beuys’ Vitrines,” in John Welchman, ed., Sculpture and Vitrine (Ashgate and The Henry Moore Institute, 2013), 121-142
• “‘What Makes Indians Laugh’: Surrealism, Ritual and Return in Steven Yazzie and Joseph Beuys,” Journal of Surrealism and the Americas (2012) Vol. 6 No. 1 (December, 2012): 39-60.

• “Serious Play: Games and Early Twentieth-Century Modernism,” reprinted in David Getsy, Ed., From Diversion to Subversion: Games, Play, and Twentieth-Century Art (Pennsylvania State Press, 2011), 60-72

• Review of Boris Groys, The Communist Postscript (Verso, 2010), Theory, Culture and Society Vol. 28, No. 3 (June, 2011): 162-164

• “Post-Meinhof Feminism: Yvonne Rainer’s Journeys from Berlin/1971 (1979),” in Berlin Divided City, Sabine Hake and Philip Broadbent, Eds. (New York: Berghahn Books, 2010), 135-144

• Review of Heike Fuhlbrügge, Joseph Beuys und die anthropologische Landschaft (Reimer Verlag, 2008), Journal für Kunstgeschichte 12: 4 (2008): 307-311

• Modern Art at the Berlin Wall: Demarcating Culture in the Cold War Germanys (I.B. Tauris, 2008)
• “Socialist Primitivism and the ‘New’ Leipzig School,” The Art Book 14, No.1 (U.K.; February, 2007): 54-55
• Joseph Beuys: the Reader, co-edited with Viola Michely (MIT Press/I.B. Tauris, 2007)
• “‘Ezra Pound is back’: Klaus Ottmann’s SITE Santa Fe Biennial,” exhibition review, The Art Book 14, No.3 (U.K.; August, 2007): 65-66
• “Cold War Games and Postwar Art,” Reconstruction: Studies in Contemporary Culture, Vol. 6.1 (Winter, 2006), http://reconstruction.eserver.org/061/contents.shtml
• “Serious Play: Games and Early Twentieth-Century Modernism”,The Space Between: Literature and Culture 1914-1945 (Fall 2005): 9-30
• Rethinking Conceptual Art,”* caa.reviews (Summer, 2002)
• " Racing Berlin: The Games of Run Lola Run," M/C: A Journal of Media and Culture (2000).
• "Vostell's Ruins: Dé-collage and the Mnemotechnic Space of the Postwar City," Art History (2000).