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Full Description
Grotesque Visions focuses on the radical avant-garde interventions of Salomo Friedländer (aka Mynona), Til Brugman, and Hannah Höch as they challenged the questionable practices and evidentiary claims of late-19th- and early-20th-century science. Demonstrating the often excessive measures that pathologists, anthropologists, sexologists, and medical professionals went to present their research in a seemingly unambiguous way, this volume shows how Friedländer/Mynona, Brugman, Höch, and other Berlin-based artists used the artistic grotesque to criticize, satirize, and subvert a variety of forms of supposed scientific objectivity.
The volume concludes by examining the exhibition Grotesk!: 130 Jahre Kunst der Frechheit/Comic Grotesque: Wit and Mockery in German Arts, 1870-1940. In contrast to the ahistorical and amorphous concept informing the exhibition, Thomas O. Haakenson reveals a unique deployment of the artistic grotesque that targeted specific established and emerging scientific discourses at the turn of the last fin-de-siècle.
Contents
Acknowledgements
Note on Style and Sources
List of Figures
1. The Return of the Grotesque
2. The Science of Berlin Dada: Salomo Friedländer, Walter Benjamin, and the Grotesque
3. The Architectonics of Public Science: "Learning to See" in Rudolf Virchow's Museum of Pathology
4. Sexuality ad oculos: Sigmund Freud and Magnus Hirschfeld Meet Til Brugman's "Celluloid Children"
5. The Optics of Evidence: Photography and Vision in Berlin Anthropology
6. Visual Objectivity Meets Impossible Object: Hannah Höch "From an Ethnographic Museum" Photomontages
7. Learning to See Grotesquely
Coda: Toward a Critique of the Dogma of Visuality
Bibliography
Index
