Word: neue
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Dates: during 1980-1989
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Arriving in Bonn a few days later, Haig had to tone down Weinberger's pessimistic assessment of the prospects for Soviet-American negotiations. Commented the Neue Ruhr Zeitung: "Haig repaired the china that was smashed a few days earlier by Secretary Weinberger." But Cap keeps smashing away. In Washington last week he told reporters that arms-control talks were contingent on the further reduction of Soviet troop levels near Poland. The State Department had to send messages to NATO capitals reassuring them of America's commitment to renewed negotiations. Haig publicly stated that Soviet-American talks are "under...
...moves to Chicago's Museum of Contemporary Art on Nov. 22, deals with an aspect of modernism that 15 years ago was thought hardly worth discussing. What could be further from the concerns of Matisse or Braque than the images to which German intellectuals gave the name Neue Sachlichkeit - "new objectivity"? There, in contrast to the French tradition of measure, delectation and ordered feeling, of art "above" politics, was a cold, laconic, even squalid-looking art that wanted to contribute its voice to the tormented political theater of the Weimar Republic. It was antiexpressionist too; painters like Otto...
...hardheaded: an art of the street, the cafe, the factory line, the docks and brothels. Some of its collective character might be gleaned from the title Bertolt Brecht gave one of his poems: "700 Intellectuals Pray to an Oil Tank." It was a pessimistic movement. Nobody involved with Neue Sachlichkeit believed in the machine-utopias that were an article of faith among the romantics at the Bauhaus. When an artist like Carl Grossberg (1894-1940) painted factory installations, he gave them a deserted, haunting quality, as though some German De Chirico had been set loose in the Ruhr. De Chirico...
Such paintings suggest the strength of the Neue Sachlichkeit tendency to paint a world beyond the spectator's control - not Leger's confidence in technology, but glimpses of an airless place, always the city, with looming buildings, threatening, gray and crystalline, where the exact divisions between things seem to mirror the divisions and conflicts of class that concerned many of the painters. In particular, they obsessed Grosz. One of his friends called him "a Bolshevik in painting, nauseated by painting." This was not quite true, for although Grosz once declared that compared with the practical tasks of political...