Alfred Flechtheim, the art dealer who brought Picasso to Berlin and founded the magazine Querschnitt, was one of the most important figures of Weimar Germany’s cultural scene. 80 years after his death, the Georg Kolbe Museum has put on a show about his life and work, featuring works by the artists he represented: Continue reading
A fashion illustration showing models wearing various party dresses. Date: 20th June 1928
The Fashion & Textile Museum in London is currently showing clothing and fashion photography from the 1920s, “a glittering display of haute couture and ready-to-wear fashion from 1919 to 1929”. According to the exhibition catalogue, “women’s clothing in the 1920s reflected dizzying social change on an unprecedented scale. From Paris and London to New York and Hollywood, the decade following the Great War offered the modern woman a completely new style of dressing.”
The exhibition programme includes Charleston dance classes and a talk by Caroline Cox about “1920s Hair & Beauty”. Continue reading
The Museum Ludwig in Cologne is hosting an exhibition of works by Karl Schenker, one of Weimar’s most famous society photographers: “Everybody who was anybody had their portrait taken in his Berlin studio on the famous Kurfürstendamm.” Many thanks to Dorothy Price for drawing our attention to this fabulous show! Continue reading
Vor der Westfalenhütte, Dortmund, 1928-1933
The Ruhrmuseum Essen is currently hosting an exhibition of Erich Grisar’s documentary photography from 1928-1933. Grisar is primarily known as a working-class writer and journalist, and this new show puts his photography work centre-stage for the first time. Spiegel Online features a selection of photos from the exhibition.
Over the past weeks, three new exhibitions have opened on two different continents, almost at the same time, that put Weimar culture back into the spotlight of wider public attention.
In New York, Berlin Metropolis: 1918-1933 at the Neue Galerie “explores the city using a multi-media approach, revealing this complex period through painting, drawing, sculpture, collage, photography, architecture, film, and fashion.” In LA, New Objectivity: Modern German Art in the Weimar Republic, 1919-1933, at the Los Angeles County Museum of Art claims to be “the first comprehensive exhibition in the United States to explore the dominant artistic trends of this period.” Meanwhile, in Berlin, Tanz auf dem Vulkan. Das Berlin der Zwanziger Jahre im Spiegel der Künste at the Stadtmuseum Berlin promises to deliver for the first time a “comprehensive overview” of Berlin’s status as the European centre of the avant-garde in Europe during this period. Continue reading
The myth of the “Roaring Twenties” and of 1920s Berlin is rearing its head again. From September, the Stadtmuseum Berlin hosts the exhibition “Dancing on the Volcano. The Berlin of the Twenties as Reflected in the Arts” aiming at showcasing “the mood and social climate in the 1920s, particularly in the pulsating metropolis of Berlin”.
Sadly, there seems to be no historical awareness of the “legend of the Twenties” (in Helmuth Plessner’s words) and its retrospective, nostalgic quality.
In 2013, the interest in the history of the Ullstein publishing house seems to pick up. Besides a major conference in April, an up-coming exhibition in June – as part of the Berlin-wide theme year Diversity Destroyed – will look at Ullstein’s Gleichschaltung after 1933. A dedicated website already gives a good introduction to the topic.
The exhibition is organised by Deutsches Presemuseum im Ullsteinhaus, an association of scholars, artists and journalists aiming to establish a German ‘museum of the press’ in Ullstein’s impressive former printing facility in Tempelhof, erected in 1927. A cause worth supporting!