Word: beckmann
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Dates: during 1990-1999
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...Reisinger has accumulated over the past century an impressive holding of post-1880 German art with a particular emphasis on German Expressionism. The stark curation and sparing use of didactic wall texts are appropriately austere, boldly offsetting the colorful effusiveness of Gerhard Richter and the restrained hysteria of Max Beckmann. Also notable is a series of Bauhaus paintings (including works by Malevich and El Lissitsky), a pair of Jawlensky portraits, and an unusual Klimt. Currently on display is a collection of works by Hannah Darboven, touted by the curatorial staff as "one of the most important active German artists today...
...tales from this televised traveling carnival of collectibles, where folks have their cherished trinkets and ancestral hand-me-downs professionally appraised, are legendary. There's Claire Wiegand-Beckmann, the retired New Jersey schoolteacher whose beloved wooden table, bought for $25 in 1965, turned out to be a John Seymour masterpiece that eventually fetched close to $500,000 at a Sotheby's auction. Or the Houston man who learned that although his oil painting of the Titanic, purchased in England decades ago, was worthless, the menu pasted on the back was an original from a last meal on the ship, worth...
...Busch, The Schaefer Sisters "clicks" for the viewer just as later Abstract Expressionist pieces "click"; unlike abstract images, however, the presence of a clearly portrayed object confounds any attempt on the museum goer's part to detect feelings of abstract communication or inspiration. Pieces such as Max Beckmann's hollow-eyed Self-Portrait and Lyonel Feiniger's playfully interpretable Hairdresser's Dummy with Mr. and Mrs. Feiniger have the modern emphasis on form which mark their contemporaries in architecture and design, but their stubborn focus on people as objects indicates a less artistic goal-politics...
...exhibit to bolster the scanty offerings. There is a characteristic Georg Grosz sketch of men and women walking about, greedy and mean, but it feels like little more than a twig compared to the corpus of Grosz's works. The same is true of the representation given of Beckmann, Feiniger, Albers, Schlemmer and other Weimar stars. The only artist who has enough pieces in The Laboratory of Modernity to shine within its gray walls is L'aszl'o Moholy-Nagy, whose work finds a place in each of the exhibits three sections: "Montage," "The Modern Subject" and "Urban Visions...
...their context and milieu and dropped by the fortunes of war into a strange society, would easily continue to produce their best work. One who did was Mondrian, whose years in New York culminated in the wonderful Broadway Boogie-Woogie paintings, which couldn't be borrowed for this show. Beckmann painted some of his greatest allegories after 1937, when he fled to Amsterdam. Among them: Birds' Hell, 1938, his one clearly political work, a lurid scene of martyrdom with a bird-headed torturer carving parallel stripes on the back of a sacrificial prisoner (Beckmann himself?) while figures in the background...