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• Erlösungskunst oder Befreiungspolitik / Antje von Graevenitz
• Protoplasma des Gesamtkunstwerks / Genia Schulz, Hans-Thies Lehmann
• "Und doch bin ich Mensch geworden" / Klaus-K. Hübler
• Der Schlaf der Vernunft gebiert Monstren / Gabriele Förg
• Das Individuum findet nicht statt / André Vladimir Heiz.

• A prehistory : Jewish impersonation
• Race and reconstruction : Winnetou at Bad Segeberg
• Winnetou's grandchildren : Indian identification, ethnic expertise, white embodiment
• The violent white gaze : drag and the critique of fascism
• Queer colonialism : ethnographic authority and homosexual desire
• Ethnic travesties.

• CONTENTS: Sound Art or Sound in Art: What Matters? - Sound Art and the Hierarchy of Senses - From the Bauhaus to Fur Augen und Ohren: Gender and the Institutional Incorporation of the Senses of Sight and Hearing - Noise in Painting: Mary Bauermeister's Early Practice and Collaboration with Karlheinz Stockhausen - Unmasking the Masquerade: Aural and Visual Gender Dynamics in the Performance Series Emergency Solos by Christina Kubisch - Playful Imagination: A Comparative Study of Gerda Nettesheim's and Monika von Wedel's Sound Objects - Listen to His Master's Voice: Authoritative Acousmatic Voices in an Audio Piece by Hildegard Westerkamp - Epilogue: Signifying Matter.
• (source: Nielsen Book Data)

Art history traditionally concentrates on the visual. Sound has either been ignored or has been appreciated in a highly selective manner within a different discipline: music. This book is about recent attempts by artists trained in (West) Germany to provoke listening experiences to awaken the senses. Their work is revolutionary in artistic terms and in what it reveals about human relations, especially concerning issues of gender. The main focus of the book is to explore a gendered reading of the unity between the visual and the aural, a strand most prominently expressed within sound art in the period from the beginning of the 1960s to the 1980s. The book juxtaposes sources that have not been considered in conjunction with each other before and questions sound art's premise: is it a separate field or a novel way of understanding art? The study also opens up sound art to gender considerations, asking if the genre possesses the capacity to disrupt conventional, gendered role models and facilitate alternative possibilities of self-definition and agency across genders. Emergency Noises brings to light the work of underrepresented female artists and explores new intersections of sound, art and gender.
(source: Nielsen Book Data)

• Die Graswurzelrevolution / Jost Hermand
• Der Streit um die grüne Kulturpolitik / Stephen Brockmann
• Kulturpolitik und Politik des Kulturellen / Bernd Wagner
• Grüne Kulturpolitik und kulturelle Bewegung "von unten" / Eckard Holler
• Mit grünen Augen betrachtet
• Brief eines Malers an seinen Freund, oder, Die Liebe zur Kunst und zum Leben / Wassili L. Lepanto
• Zwanzig Thesen zu einer alternativen Musik / James B. Meinkes
• Graue Gegenwart, aufgehellte Zukunft / Reinhilde Wiegmann
• "Wenn es so bleibt, wie es ist, bleibt es nicht"
• Gespräch mit Daniel Cohn-Bendit und Hubert Müller / Uli Myller
• Dem Struwwelpeter durch die Haare gefahren / Jost Hermand.

• Inventur-Art in Germany, 1943-55 / Lynette Roth
• "An Absolutely Unknown Aspect of Modern Art" : The U.S. Reception of Postwar German Art in the 1950s / Ilka Voermann
• Catalogue Entries
• Key Exhibitions, 1945-55.

As Germany went through a period of intense physical and moral stocktaking in the wake of World War II, the country's artists responded by creating highly charged works and engaging in heated debates about artistic practice and its relationship to the reestablishment of a new national identity. This long-overdue examination of German art from the immediate postwar period includes case studies of nearly fifty artists working in a variety of media ranging from small-scale drawings and collages to large, colorful canvases and industrial products. Insightful essays delve into Willi Baumeister's wartime lacquer experiments, Louise Roesler's abstract ruinscapes, and Arno Fischer's photographs of a divided Berlin, revealing Germany's surprisingly generative and pluralistic artistic culture. With a title taken from a 1945 poem by Gunter Eich, this important book provides a fresh perspective on a largely overlooked corpus of works-some published here for the first time-and is a valuable contribution to our understanding of 20th-century German art.
(source: Nielsen Book Data)