Grotesque Visions focuses on the radical avant-garde interventions
of Salomo Friedländer (aka Mynona), Til Brugman, and Hannah Höch
as they challenged the questionable practices and evidentiary
claims of late-19th- and early-20th-century science. Demonstrating
the often excessive measures that pathologists, anthropologists,
sexologists, and medical professionals went to present their
research in a seemingly unambiguous way, this volume shows how
Friedländer/Mynona, Brugman, Höch, and other Berlin-based artists
used the artistic grotesque to criticize, satirize, and subvert a
variety of forms of supposed scientific objectivity. The volume
concludes by examining the exhibition Grotesk!: 130 Jahre Kunst der
Frechheit/Comic Grotesque: Wit and Mockery in German Arts,
1870-1940. In contrast to the ahistorical and amorphous concept
informing the exhibition, Thomas O. Haakenson reveals a unique
deployment of the artistic grotesque that targeted specific
established and emerging scientific discourses at the turn of the
last fin-de-siècle.
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