About
I research and write about Franz Marc, the historical avant-garde (which I guess we are now calling »Classical Modernism«), zooarchaeology, images of animals, and the Sixth Mass Extinction.
My website,
German Modernism is about these subjects. When I have time, I write book and exhibition reviews.
Other Publications
Interview: Melissa Thompson, Andrew Lalino, and Jean Marie Carey.
National Public Radio/StoryCorps: One Small Step, 30 July 2019. “
It’s One Area Radical Feminists and Hardcore Conservatives Agree Upon.”
Interview: James Tapper,
The Guardian, 7 November 2019. “
How Netflix is Changing the Way We Learn Languages.”What makes for a quality peer review?”
Interview: Eric Schmeider,
Abstract: On Textbook and Academic Writing, 20 September 2019. “
What makes for a quality peer review?”
Interview: Ilana Kowarski,
U.S. News and World Report, 12 August 2019. “
How Long Does It Take to Get a PhD Degree?”
Ein Manifest der Freundschaft – Trang Vu Thuy (ed.), “Blog des Lenbachhauses,” Städtische Galerie im Lenbachhaus und Kunstbau, Munich, Germany, February 2015. )
Ideological Objects:
Zum Vortrag von Isabelle Graw Der Wert des Lebendigen – Malerei als indexikalisches Medium in der neuen Ökonomie, (ed.) Althaus, K., The Lenbachhaus, Munich, June 2013.
Projects
Raubkunst at the Ringling: The Story Continues
Its genesis in 2016 was the glimpse of a fin becoming a feather that ignited a strong intuition at ”Raubkunst als Erinnerungsort,” a research fellowship sponsored by the
Zentrum für Historische Forschung der Polnischen Akademie der Wissenschaftenin Berlin that same December. Eventually, and with the help of many people, “
Raubkunst at the Ringling” ran in the Modernism journal
Lapsus Lima on 9 January 2019 and was picked up in the news all the way to the Antipodes that week with the story “
Otago Link to Identifying Art Looted by Nazis.”
On 13 February 2019 I presented this research about Franz Marc’s woodcuts
Schöpfungsgeschicte II (1914) and
Geburt der Pferde (1913) amid colleagues at the
College Art Association conference in New York City. The very next day I learned “Raubkunst at the Ringling” had been formally recognised as a “solved” case of Nazi looted art with the recognition of my findings by the
Commission for Looted Art in Europe in the annals of
The Central Registry of Information on Looted Cultural Property 1933-1945.
My hope all along has been that the John and Mable Ringling Museum of Art, the State Art Museum of Florida operated by Florida State University, would acknowledge the illicit acquisition of the prints by the American UPI reporter Robert Beattie from the notorious “Kunsthändler to the Third Reich” Bernhard A. Böhmer in 1940 prior to Beattie’s donation of them to the Ringling in 1956 where they have been hidden since, and allow these works to be shared with the public.
To more fully bring this story to light, I have created a collaborative book project half catalogue, half detective story, about these works. Here is the first
Call for Authors:
Piazzetta Provenance Project CFA: Raubkunst at the Ringling: The Catalogue in Absentia.
Write me at
jeanmarie.carey@germanmodernism.org if you are interested in working together on this project.
