Where my project stands at the moment is one that still lacks focus and a specific argument at such. As the nature of my project has evolved from focusing on the first Documenta exhibition in 1955 to covering three (1955, 1968, and 1972 I think I’m going to move forward with) and looking at a long-term analysis instead, the breadth of historiography has widened. This is to be expected as I further interrogate German identity and politics through its varied periods, spanning the Adenauer period to Brandt era. What some of my research into the Documentas has revealed so far is that the onset of Ostpolitik (political efforts to ease West German-East German tensions from the late 1960s) did not mean the introduction of Eastern artists into documenta as of 1972. This raises questions surrounding Western German intentions to fulfill its Ostpolitik policy and whether its commitment to implement greater economic and cultural exchange was honest.
One such trend that has been apparent across all three exhibitions is the continually rising number of American artists featured, and is a possible avenue I might explore further as an understanding of German identity reformation. In the 1972 exhibition American artists made up over fifty percent of the participants, a noticeable change from the 1955 exhibition, which was dominated by Germans and featured only three American artists. Is this merely a trend reflecting the popularity of pop art, conceptual art, and others, or is there a feeling that Germany wants to move farther West, integrate more away from its Eastern counterpart? Does the cultural exchange between American and German artists demonstrate a transferral of German values? How do I determine exactly what these values are?
As I continue with my research, the greatest challenge seems to be forming an actual hypothesis and constructing an argument. At times there seems to be a wealth of information, and sifting through the historiography seems to be crucial at this point. In terms of primary sources there isn’t much beyond the works themselves, although at this point I feel like the art will be pushed aside in favour of transnationally looking at the scales at play here (exhibition, Kassel, Germany, Europe, and beyond). Within these scales is one question I keep coming back to as suggested by Dr. Struck, and that is why Kassel? I hope to keep this in mind as I continue a long-term examination of the scope of artists involved as connected to German identity.