Charles Krafft is known for his ironic Nazi ceramics — except that he's a Nazi Jen Graves in the Stranger finds malice under Krafft's provocation. (Via; previously, previously.)
With techniques like "art by telephone" and a studio called "the Factory" where even the security guard helped with the painting, Andy Warhol redefined the relationship between artist and artwork, and blurred the line between work and copy. [more inside]
Eroica. Film director Andrzej Munk’s tragic death at age thirty-nine might have formed the plot for one of his own darkly sardonic works: a Polish Jew and an active resistance worker during the war, he was returning home from shooting his film Passenger at the Auschwitz concentration camp in 1961 when an oncoming truck struck his car. He left behind only four feature films, but his influence was prodigious. As one of the key figures of the postwar “Polish School” of filmmaking, along with Wajda and Kawalerowicz, he helped to shape a vision that broke with the official social realist optimism of Eastern-bloc dogma and cast a skeptical eye on official notions of heroism, nationalism, and life in the Stalinist-occupied state. Mentor to Roman Polanski and Jerzy Skolimowski, his influence can be felt even in the films of a later generation of Polish filmmakers — directors like Zanussi and Kieslowski. More inside.