@article{TheArtofthePeriodical:Pan:2008,
      recid = {2008},
      author = {Koss, Max},
      title = {The Art of the Periodical: Pan, Print Culture and the  Birth of Modern Design in Germany, 1890-1900},
      publisher = {The University of Chicago},
      school = {Ph.D.},
      address = {2019-08},
      pages = {373},
      abstract = {This dissertation tells the story of the Berlin based art,  literature, and applied art periodical Pan, whose  twenty-one issues were published in three editions of  increasing luxury between 1895 and 1900. The dissertation  therefore provides an overview of the entirety of the  periodical’s life, countering historiographic biases, which  emphasized Pan’s experimental beginnings. By reconstructing  the extended periodical, including advertisements,  marketing brochures and off-prints, the dissertation shows  how Pan’s own development is not a history of decline, as  has been repeatedly asserted. Rather, the dissertation  makes the case that Pan’s development very much mirrors and  reflects a historical pivot from late nineteenth century  symbolist aesthetics toward a modernist aesthetics, based  on principles of rationality and seriality. The  dissertation also uses Pan as an exemplary case study to  offer a new perspective on the role of periodicals at a  crucial moment for the relationship between art and design.  By considering and analyzing Pan’s dual nature as  conventional print medium as well as experimental applied  art object, this dissertation offers new insights into the  reciprocally constitutive relationship between objects and  their images during the fin-de-siècle. After a first  chapter provides an institutional history of the  periodical, the second chapter turns to the role paper  played in the conception, production and reception of the  periodical, especially relating to questions of  consumption, luxury and bourgeois decorum. The third  chapter analyses in detail shifts in layout and typography  over the periodical’s five-year run and proposes that Pan’s  emphasis on the experience of the single page makes it a  periodical despite itself. The last chapter first considers  the significance of reproductions in Pan and then situates  them in a larger economy of images, publications, objects,  and interiors. This last section lays bare in some  historical detail that in the age of the periodical both  art and applied art are subject to the logic of  reproducibility and seriality. Whether as objects or as  entire rooms, modernity in art and applied art circulated,  crucially, as image-objects in the form of tangible,  sensuously active periodicals.},
      url = {http://knowledge.uchicago.edu/record/2008},
      doi = {https://doi.org/10.6082/uchicago.2008},
}