Alexander von Humboldt Stiftung Fellow
Graham Bader’s research and teaching focuses on postwar European and American art and the interwar avant-gardes of Germany and Russia. In addition to his book Hall of Mirrors: Roy Lichtenstein and the Face of Painting in the 1960s (October Books, 2010), his published work includes essays on artists including Andy Warhol, Robert Rauschenberg, and Kazimir Malevich, and on topics including Neue Sachlichkeit painting in 1920s Germany, the legacy of iconoclasm in twentieth-century art, and American reception of contemporary German painting. His current research focuses on the art and design projects of the German Dadaist Kurt Schwitters.
In Press: Kurt Schwitters: Works and Writings. Barcelona: Ediciones Polígrafa (expected 2013).
Hall of Mirrors: Roy Lichtenstein and the Face of Painting in the 1960s. Cambridge, Mass.: MIT Press (October Books), 2010.
October Files: Roy Lichtenstein (edited volume). Cambridge, Mass.: MIT Press, 2009.
Articles and Catalog Essays
„Honored in the Breach: Graham Bader on Absence as Memorial.“ Artforum 50 (April 2012): 81-82.
„Images Between Dream and Disaster: Passages in Twentieth-Century Photomontage,“ in Utopia/Dystopia: Construction and Destruction in Photography and Collage. Exh. Cat. (Houston: Museum of Fine Arts, 2012), pp. 70-82.
„Lichtenstein’s Narcissus,“ in Isabelle Loring Wallace and Jennie Hirsh (eds.), Contemporary Art/Classical Myth (London: Ashgate, 2011), pp. 159-173.
„Emptied Gesture: Graham Bader on Roy Lichtenstein’s ‚Brushstrokes.'“ Artforum 49 (Summer 2011): 346-351, 430.
„Rate of Exchange: Graham Bader on Kurt Schwitters.“ Artforum 49 (January 2011): 198-203, 243.
„Painting Reflection,“ in Roy Lichtenstein: Reflections. Exh. Cat. (New York: Mitchell-Innes and Nash Gallery, 2010), pp. 44-58.
„Drawing Sense,“ in Roy Lichtenstein: The Black and White Drawings, 1961-68. Exh. Cat. (New York: Morgan Library and Museum, 2010), pp. 43-51.
„Modern Painting, Modern Iconoclasm,“ in Target Practice: Critiques of Painting, 1949-1978. Exh. Cat. (Seattle: Seattle Art Museum, 2009), pp. 126-143.
„Political Warhol,“ in Andy Warhol by Andy Warhol. Exh. Cat. (Oslo: Astrup Fearnley Museum of Modern Art, 2008), pp. 21-27.
„Between Forest and Wall,“ in Arturo Herrera: Boy and Dwarf (New York: Distributed Art Publishers, 2007), pp. 81-86.
„Die absolute Besonderheit von Kasimir Malewitschs Schwarzem Quadrat“ [„The Absolute Particularity of Kazimir Malevich’s Black Square„] in Das Schwarze Quadrat: Hommage an Malewitsch. Exh.Cat. (Hamburg: Hamburger Kunsthalle, 2007), pp. 201-206.
„Rauschenberg’s Skin.“ Grey Room 27 (Spring 2007): 104-118.
„The Body Politic: Glitter and Doom at the Metropolitan Museum of Art.“ Artforum 45 (January 2007): 226-231.
„German Paint, American Eyes, A Global Present,“ in Christoph Tannert (ed.), New German Painting (Munich: Prestel, 2006), pp. 50-65.
„Donald’s Numbness.“ Oxford Art Journal 29 (March 2006): 95-113. Revised version published in October Files: Roy Lichtenstein (Cambridge: MIT Press, 2009).
„High and Low: Graham Bader on Soft-Core.“ Artforum 43 (October 2004): 109-110, 283.
„Roy Lichtenstein’s Absorbing Landscapes.“ Art on Paper 5 (November/December 2000): 44-49.
Reviews and Art Criticism
„Tabula Rasa: Graham Bader on Gerhard Richter“ (review of four recent publications on or by Gerhard Richter). Artforum 49 (September 2010): 97-98.
„Jeff Koons“ (focus review). Artforum 47 (September 2008): 450-451.
„Re-Imagining Russian Constructivism“ (review of Christina Kiaer, Imagine No Possessions: The Socialist Objects of Russian Constructivism). Art History 31.2 (April 2008): 255-258.
„Candida Höfer“ (focus review). Artforum 44 (March 2006): 287-288.
„Lenin, King Kong, and the Dreams of Modernity“ (review of Susan Buck-Morss, Dreamworld and Catastrophe: The Passing of Mass Utopia in East and West). Artjournal 61 (Winter 2002): 114-116.