A striking new photographic voice engages with street portraiture to create dark, interior psychological spaces exploring the relationship between public and private lives. (more…)
Otto Dix has been perhaps more influential than any other German painter in shaping the popular image of the Weimar Republic of the 1920s. His works are key parts of the New Objectivity movement, which also attracted George Grosz and Max Beckmann in the mid 1920s. A veteran haunted by his experiences of WWI, his first great subjects were crippled soldiers, but during the height of his career he also painted nudes, prostitutes, and often savagely satirical portraits of celebrities from Germany’s intellectual circles. His work became even darker and more allegorical in the early 1930s, and he became a target of the Nazis. In response, he gradually moved away from social themes, turning to landscape and Christian subjects, and, after serving in the army during WWII, enjoyed some considerable acclaim in his later years.
Throughout the 1920s Dix was included in many of the most significant exhibitions of new art in Germany. Most importantly, he was included in Neue Sachlichkeit, the exhibition at the Kunsthalle Mannheim in 1925 that gave its name to the movement that Dix would forever be associated with. Neue Sachlichkeit evolved out of Expressionism, but took on qualities of the classical, linear realism that was becoming prevalent in Italy and France.
Dix is most remembered for the portraits he produced during the years of the Weimar Republic, pictures that have contributed to the enduring popular image of that famously decadent time in German history. They have also powerfully influenced portrait painters throughout the twentieth century. Although the rise of abstraction in the 1940s and 1950s continued to erode the importance of figurative portraiture, the tradition of portrait painting has continued throughout the West, and many leading artists continue to speak of Otto Dix with reverence.
[via The Art Story]
A striking new photographic voice engages with street portraiture to create dark, interior psychological spaces exploring the relationship between public and private lives. (more…)
“History of art is a history of great things neglected and ignored and mediocre things being admired. At different times things are different. The history of photography is a history of changes.” –Saul Leiter (more…)
Sinziana Velicescu’s work is a minimalist and abstract approach, a modern chronicling of a quiet land surveyor, completely separated of sentimentality. The publication of her series is a documentation of time, bracketed in images of framed surfaces of space.
Following the murder of George Floyd by police officers, demonstrations across the U.S. and beyond ignite against racism and police brutality, at times met with less than magnanimous authority.
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The COVID-19 outbreak has imposed restrictions in movement. As part of an ongoing initiative, photographers of Magnum Photo are sharing information and new work made in these strange and difficult times.
Angela Davis Johnson creates paintings, public art installations, and ritual performances to examine the technologies of black people, in particular black women/femme. (more…)
Andréhn-Schiptjenko is pleased to present The Pink Drill, an exhibition with new works by Annika Elisabeth von Hausswolff. The artist was first introduced by Andréhn-Schiptjenko in 1994 and has since then been widely exhibited in Scandinavia and abroad. (more…)
As of Friday, February 25, 2022, The Calvert Journal ceased publication until further notice. At a time when Russian acts of war are being committed in Ukraine, we cannot in good conscience continue our work covering culture and the arts like business as usual. (more…)