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Grotesque visions: Art, science, and...

Haakenson, Thomas Odell.

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Grotesque visions: Art, science, and visual culture in early-twentieth-century Germany.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Grotesque visions: Art, science, and visual culture in early-twentieth-century Germany./
作者:	Haakenson, Thomas Odell.
面頁冊數:	368 p.
附註:	Adviser: Keya Ganguly.
Contained By:	Dissertation Abstracts International67-08A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3227548
ISBN:	9780542813856

Grotesque visions: Art, science, and visual culture in early-twentieth-century Germany.
Haakenson, Thomas Odell.

Grotesque visions: Art, science, and visual culture in early-twentieth-century Germany. - 368 p.

Adviser: Keya Ganguly.

Thesis (Ph.D.)--University of Minnesota, 2006.

In the following study, I examine the relationship between art and science in early-twentieth-century Germany. I argue that certain artists used the grotesque as a way to challenge various forms of scientific objectivity. Not including the introductory and concluding chapters, I have divided the dissertation into two sections of three chapters each. This structure is meant to aid the reader in understanding the contextual and historically-specific uses of the grotesque.

ISBN: 9780542813856Subjects--Topical Terms:

635474
Art History.

Grotesque visions: Art, science, and visual culture in early-twentieth-century Germany.
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520 $a In the following study, I examine the relationship between art and science in early-twentieth-century Germany. I argue that certain artists used the grotesque as a way to challenge various forms of scientific objectivity. Not including the introductory and concluding chapters, I have divided the dissertation into two sections of three chapters each. This structure is meant to aid the reader in understanding the contextual and historically-specific uses of the grotesque.
520 $a In the first section, "Science and the Visual," I analyze notions of scientific perception in the German context. Chapter two focuses on the relationships among science, art, and perceptual subjectivity. I follow this engagement with two descriptive chapters about public and professional science. Chapter three examines the changing meanings given to photographic evidence in the Berliner Gesellschaft fur Ethnologie, Anthropologie, and Urgeschichte, while chapter four explores the protocols for professional and public science at the Institut fur Pathologie.
520 $a I engage artistic responses to science's developing optics in section two, "Critical Artistic Visions." In the three chapters that comprise this section, I examine the use of the grotesque by three artists: Salomo Friedlander, Til Brugman, and Hannah Hoch. In chapter five, I detail Friedlander's philosophical and aesthetic exploration of the grotesque as a means to challenge the visual certitude of empirical science. In chapter six, I assess Brugman's short grotesque, "Warenhaus der Liebe," a text parodying the work of sexual scientist Magnus Hirschfeld and his Institut fur Sexualwissenschaft. In the last chapter of this section, which is devoted to the well-known visual artist Hannah Hoch and her photomontage grotesques, I contextualize her "Aus einem ethnographischen Museum" images as responses to the optical certitude of anthropology.
520 $a I conclude the dissertation by situating the unique understanding of the grotesque developed by Friedlander and employed by him, Brugman, and Hoch, in the context of recent events in Germany. I show that the modern-day exhibit Grotesk! fails to recognize the critical and contextual aspects of the artistic style. Understood correctly, I suggest, the work of the artists examined in the following study show us, even today, just how important---and critical---the grotesque is.
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