Word: hubbuch
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Appreciating the Weimar exhibition in this historical context is essential. In fact, The Laboratory of Modernity exhibition was actually organized to complement Eric Rentschler's Weimar Cinema class (German 155). The works themselves are usually not beautiful. Karl Hubbuch's drypoint, profile portrait of The Schaefer Sisters shows the ugly sister fastening a necklace around her prettier sister's neck. The sisters are ably sketched, but their averted gaze, their isolation on otherwise white paper, and the blunt utility of Hubbuch's composition combine to give the viewer a queer sense of detachment, which prevents wholehearted admiration while simultaneously intensifying...
...city was seen as the mill of oppression, grinding women down into whoredom and men into anonymity. German artists like George Grosz, Karl Hubbuch and the remarkable and still underknown Hannah Hoch imagined it as a grotesque theater, full of libido and irony -- the stage of a morality play, updated to reflect the postwar sense of despair. From Grosz in Berlin to Frans Masereel in Antwerp, an enormous iconography of city life -- its edginess, speed, compression, perversion, fixation on style -- developed in the '20s. The idea that the city is constructed of signs, of media and information overload as much...
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