What happened in 1920s Cologne ‘after Dada’? Whilst most standard accounts of Cologne Dada simply... more What happened in 1920s Cologne ‘after Dada’? Whilst most standard accounts of Cologne Dada simply stop with Max Ernst’s departure from the city for a new life as a surrealist in Paris, this book reveals the untold stories of the Cologne avant-garde that prospered after Dada but whose legacies have been largely forgotten or neglected. It focuses on the little-known Magical Realist painter Marta Hegemann (1894–1970). By re-inserting her into the histories of avant-garde modernism, a fuller picture of the gendered networks of artistic and cultural exchange within Weimar Germany can be revealed. This book embeds her activities as an artist within a gendered network of artistic exchange and influence in which Ernst continues to play a vital role amongst many others including his first wife, art critic Lou Straus-Ernst; photographers August Sander and Hannes Flach; artists Angelika Fick, Heinrich Hoerle, Willy Fick and the Cologne Progressives and visitors such as Kurt Schwitters and Katherine Dreier.
The book offers a significant addition to research on Weimar visual culture and will be invaluable to students and specialists in the field.
Born in British Guiana (now Guyana) in 1936, a resident of London in the 1950s, and dividing his ... more Born in British Guiana (now Guyana) in 1936, a resident of London in the 1950s, and dividing his time between London and New York since the late 1960s, Frank Bowling is one of the foremost artists of his generation. As a pioneer of abstraction during the 1960s, his work as both a painter and critic for the New York–based Arts Magazine is of singular importance to the historiography of the visual culture of the “black Atlantic.” In particular, the six articles he wrote for the magazine between 1969 and 1971, in which he meditated on the notion of “black art,” reveal the ambivalent complexities that inform his aesthetic practices as both theorist and painter, or what Kobena Mercer has aptly referred to as Bowling's “discrepant abstraction.” The nature of the “discrepancies” in Bowling's work is the focus of this essay.
What happened in 1920s Cologne ‘after Dada’? Whilst most standard accounts of Cologne Dada simply... more What happened in 1920s Cologne ‘after Dada’? Whilst most standard accounts of Cologne Dada simply stop with Max Ernst’s departure from the city for a new life as a surrealist in Paris, this book reveals the untold stories of the Cologne avant-garde that prospered after Dada but whose legacies have been largely forgotten or neglected. It focuses on the little-known Magical Realist painter Marta Hegemann (1894–1970). By re-inserting her into the histories of avant-garde modernism, a fuller picture of the gendered networks of artistic and cultural exchange within Weimar Germany can be revealed. This book embeds her activities as an artist within a gendered network of artistic exchange and influence in which Ernst continues to play a vital role amongst many others including his first wife, art critic Lou Straus-Ernst; photographers August Sander and Hannes Flach; artists Angelika Fick, Heinrich Hoerle, Willy Fick and the Cologne Progressives and visitors such as Kurt Schwitters and Katherine Dreier.
The book offers a significant addition to research on Weimar visual culture and will be invaluable to students and specialists in the field.
Born in British Guiana (now Guyana) in 1936, a resident of London in the 1950s, and dividing his ... more Born in British Guiana (now Guyana) in 1936, a resident of London in the 1950s, and dividing his time between London and New York since the late 1960s, Frank Bowling is one of the foremost artists of his generation. As a pioneer of abstraction during the 1960s, his work as both a painter and critic for the New York–based Arts Magazine is of singular importance to the historiography of the visual culture of the “black Atlantic.” In particular, the six articles he wrote for the magazine between 1969 and 1971, in which he meditated on the notion of “black art,” reveal the ambivalent complexities that inform his aesthetic practices as both theorist and painter, or what Kobena Mercer has aptly referred to as Bowling's “discrepant abstraction.” The nature of the “discrepancies” in Bowling's work is the focus of this essay.
Uploads
Books by Dorothy Price
The book offers a significant addition to research on Weimar visual culture and will be invaluable to students and specialists in the field.
Papers by Dorothy Price
The book offers a significant addition to research on Weimar visual culture and will be invaluable to students and specialists in the field.