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Editorial Reviews
From Publishers Weekly
A skeleton urinates in a river, demons torment sobbing broken men, and the devil mates with Salome to infect the Pope with syphilis in this history of the mania for the bizarre in German visual art, performance and literature. The book, produced in conjunction with an exhibition at the Neue Galerie in New York, begins with curator Kort's essay on the symbolist painter Arnold Bocklin, who produced lushly painted scenes of mythic figures and monsters at play. As the book goes on, the genres become less traditional, encompassing the fields of photography, collage and even puppetry. In addition, the images themselves become more abstract, as lurid mélanges of male, female and animal bodies form comic nightmares. Certainly, the horror of two world wars and the rise of fascism had an influence on the explosion of art produced in the comic grotesque mode in Germany, particularly in the Expressionist, Dada and Surrealist schools. However, as Frances S. Connelly and Robert Storr point out in this book's essays, the comic grotesque style has been something of a constant in Western Art, and is well represented today by artists like Cindy Sherman. The degree to which the works on display in this handsome collection still disquiet, shock and move us is a testament not only to the imagination of the artists who produced them, but also to the ongoing depravities of war and violence.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Choice, April 2005
"Scholarly and ambitious… Good color reproductions."
See all Editorial Reviews
A skeleton urinates in a river, demons torment sobbing broken men, and the devil mates with Salome to infect the Pope with syphilis in this history of the mania for the bizarre in German visual art, performance and literature. The book, produced in conjunction with an exhibition at the Neue Galerie in New York, begins with curator Kort's essay on the symbolist painter Arnold Bocklin, who produced lushly painted scenes of mythic figures and monsters at play. As the book goes on, the genres become less traditional, encompassing the fields of photography, collage and even puppetry. In addition, the images themselves become more abstract, as lurid mélanges of male, female and animal bodies form comic nightmares. Certainly, the horror of two world wars and the rise of fascism had an influence on the explosion of art produced in the comic grotesque mode in Germany, particularly in the Expressionist, Dada and Surrealist schools. However, as Frances S. Connelly and Robert Storr point out in this book's essays, the comic grotesque style has been something of a constant in Western Art, and is well represented today by artists like Cindy Sherman. The degree to which the works on display in this handsome collection still disquiet, shock and move us is a testament not only to the imagination of the artists who produced them, but also to the ongoing depravities of war and violence.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Choice, April 2005
"Scholarly and ambitious… Good color reproductions."
See all Editorial Reviews
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