Books: Visual Studies
Modernism and Nazi Painting (Basingstoke: Palgrave
Macmillan, under contract).
Nazi Art: An Anthology of Images, Texts, and Documents
(Basingstoke: Palgrave Macmillan, under contract).
The Last Taboo: The Rehabilitation of Nazi Artists in Postwar
Germany (London: Continuum, under contract).
The Invisible Museum: Unearthing the Lost Modernist Art of the
Third Reich (in preparation).
House of Art: A Cultural History of Nazi Germany (in
preparation).
Books: Literary Studies
A
new translation, Friedrich Nietzsche’s On the Genealogy of
Morality, ed. Gregory Maertz (Peterborough:
Broadview Editions, under contract).
A
critical edition, George Eliot’s Middlemarch, ed.
Gregory Maertz (Peterborough: Broadview Editions, 2004).
Cultural Interactions in the Romantic Age: Critical Essays in
Comparative Literature , ed. Gregory Maertz (Albany: SUNY
Press, 1998).
EXHIBITIONS
Curator, “The World of Tomorrow: European and American Paintings at
the 1939 World’s Fair” (in preparation).
Curator, “Nostalgia for the Future: Tradition and Modernism in
German Art, 1930-1945” (in preparation)
Curator, “Art and Non-Art in German-Occupied Norway,” Bergen Art
Museum, Bergen, Norway (opening 2014).
Contributing curator, “Kunst und Propaganda im Streit der Nationen
1930-1945,” Deutsches Historisches Museum, Berlin (January 27-April
29, 2007).
Articles in Books and Exhibition
Catalogues (selected)
“The Last Taboo: The Rehabilitation of Nazi Artists in Post-War
Germany,” Art and Artistic Life during the Two World
Wars , ed. Giedré Jankeviciuté and Laime Lauckaité (Vilnius:
Lithuanian Cultural Research Institute, 2012), pp. 387-411.
“Making Radioactive Art Safe: The De-Nazification of Cultural
Collaborators in Post-War Germany,” Art and Shame,
ed. Martha Hollander (Ashgate, under review).
“The Romantic Idealization of the Artist,” Romantic Prose
Fiction, ed. Gerald Gillespie with Manfred Engel and Bernhard
Dieterle (Comparative History of Literatures in European Languages
XXIII) (Amsterdam: John Benjamins, 2008), pp. 135-158.
“The German War Art Collection,” Kunst und Propaganda im Streit
der Nationen 1930-1945, ed. Hans-Jörg Czech and Nikola Doll
(Berlin: Deutsches Historisches Museum, 2007), pp.
238-245.
“Die Sammlung deutscher Kriegskunst der US-Armee: Kunst im NS-Staat
und Nachkriegspolitik,” Kunst und Propaganda in der
Wehrmacht: Gemälde und Grafiken aus dem Russlandkrieg, ed.
Veit Veltzke (Kerber Verlag, 2005), pp. 10-16.
“Exhibiting Nazi Artifacts and Challenging Traditional Museum
Culture: A Conversation with Mitchell Wolfson, Jr.,”Acts of
Possession: Collecting in America, ed. Leah Dilworth (Rutgers
UP, 2003), pp. 267-285.
“Reviewing Kant’s Early Reception in Britain: The Leading Role of
Henry Crabb Robinson,” Cultural Interactions in the
Romantic Age: Critical Essays in Comparative Literature, ed.
Gregory Maertz (Albany: SUNY Press, 1998), pp. 209-226.
“Generic Diversity and the Romantic Travel Novel:
Godwin’s St. Leon: A Tale of the Sixteenth
Century,” Narrative Ironies, ed. Raymond A.
Prier and Gerald Gillespie (Amsterdam and Atlanta, GA: Rodopi,
1997), pp. 267-282.
Articles in
Journals (selected)
Articles on “Nazi Modernism” and “Fascist Modernism”
in The Routledge Encyclopedia of Modernism , edited
by Isabel Wünsche (forthcoming).
“Nostalgia for the Future: Proleptic Representation in Adolf
Hitler’s Collection of
Contemporary German Art,” (in progress).
“Junge Kunst im Deutschen
Reich: The Last Modernist Art Exhibition in Nazi Germany,” (in
progress).
“Christian Schad, Rudolf Schlichter, and Cultural Collaboration in
Nazi Germany,” (in progress).
“The Wehrmacht’s Combat Artists and Official Modernism in Nazi
Germany,” (in progress).
“The Munich Secession and the Arts Establishment in Nazi Germany,”
(in progress).
“The Invisible Museum: Unearthing the Lost Modernist Art of the
Third Reich,” Modernism/modernity: Special Fascism
Issue, Volume XV: 1 (January 2008): 63-85.
“The Invisible Museum: The Secret Postwar History of Nazi
Art,” Center 23 (National Gallery of Art, Center
for Advanced Study in the Visual Arts, Washington, D.C. 2003):
96-100.
“Carlyle's Mediation of Goethe in its European
Context,” Scottish Literary Journal 24: 2
(1997): 59-78.
“The Importation of German and Dissenting Voices in British
Culture: Thomas Holcroft and the Godwin
Circle,” 1650-1850: Ideas, Aesthetics, and Inquiries in
the Early Modern Era, Vol. III (1997): 271-300.
“Carlyle’s Critique of Goethe: Literature and the Cult of
Personality,” Studies in Scottish Literature, Vol.
XXIX (1996): 205-226.
“German Paradigms and American Cultural Institutions: The Mediation
of German Literature in New England,”The European Legacy,
Vol. I, No. 3 (1996): 1064-1070.
“Generic Fusion and Appropriation in Godwin’s St.
Leon,” European Romantic Review, Vol. 5, No. 1
(Winter 1995): 214-229.
“The Eclipse of the Text in Carlyle's Critical
Discourse,” The Victorian Newsletter, Vol. 87 (Spring
1995): 14-20.
“Family Resemblances: Intertextual Dialogue between Father and
Daughter Novelists in Godwin’s St. Leon and
Shelley’s Frankenstein,” University of
Mississippi Studies in English, New Series, Volumes XI-XII
(1993-95): 303-320.
“To Criticize the Critic: George Saintsbury on
Goethe,” Papers on Language and Literature, Vol.
30, No. 2 (Spring 1994): 115-131.
“Elective Affinities: Tolstoy and Schopenhauer,” Wiener
Slawistisches Jahrbuch, Vol. 40 (1994): 53-62.
“Henry Crabb Robinson's 1802-03 Translations of Goethe’s Lyric
Poems and Epigrams,” Michigan Germanic Studies, Vol.
XIX, No. 1 (Spring 1993): 19-45.