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New Objectivity, edited by Stephanie Barron and Sabine Eckmann, provides fresh insight into artistic expressions of life in the Weimar Republic.
Between the end of World War I and the Nazi rise to power, Germany’s Weimar Republic (1919-1933) was a thriving laboratory of art and culture. As the country experienced unprecedented and often tumultuous social, economic, and political upheaval, many artists rejected Expressionism in favor of a new realism to capture this emerging society. Dubbed Neue Sachlichkeit— New Objectivity—its adherents turned a cold eye on the new Germany: its desperate prostitutes and crippled war veterans, its alienated urban landscapes, its decadent underworld where anything was available for a price. This book mixes photography, works on paper, and painting to bring them into a visual dialogue. Over 50 artists such as Otto Dix, George Grosz, and Max Beckmann are included alongside Christian Schad, Alexander Kanoldt, Georg Schrimpf, August Sander, Lotte Jacobi, and Aenne Biermann.
Also included are essays that examine the politics of New Objectivity and its legacy; its relation to international art movements of the time; the context of gender roles and sexuality; and the influence of new technology and consumer goods.This book was edited by Stephanie Barron and Sabine Eckmann, with essays by Graham Bader, Nana Bahlmann, Lauren Bergman, Daniela Fabricius, Christian Fuhrmeister, Keith Holz, Andreas Huyssen, Megan Luke, Maria Makela, Olaf Peters, Lynette Roth, Pepper Stetler, James Van Dyke, and Matthew S. Witkovsky.
This was published in conjunction with New Objectivity: Modern German Art in the Weimar Republic 1919-1933 at LACMA October 4, 2015 through January 18, 2016.
- 360 pages, 9.8 x 11.4 in.
- 300 color illustrations