Herbert Ploberger: At the Interface between Fine and Applied Art

The inclusion of lesser-known modernisms into art history at large also calls for the introduction of lesser-known artists, and it is often left to smaller, regional galleries to take on this task and produce the groundwork. The recent exhibition Herbert Ploberger: At the Interface between Fine and Applied Art at the Upper Austrian regional gallery in Linz can be understood precisely in this light.

Herbert Ploberger (1902-1977) was one of Austria’s main representatives of New Objectivity painting (Neue Sachlichkeit), a movement that developed in reaction to Expressionism in 1920s Weimar Germany. Stripping paintings bare of personal feeling and emotion, artists of the New Objectivity forged a hyperreality that often bordered on caricature for its brutal and unforgiving depictions of modern life. Continue reading

Oskar Kokoschka: Expressionist, Migrant, European

In June 1908, 22-year-old Oskar Kokoschka was introduced to the public at the Internationale Kunstschau in Vienna. A student at the Academy of Applied Arts, he exhibited the illustrated book The Dreaming Youths, commissioned by the Viennese Workshops a year earlier (Fig. 1). The book was not well received – as the Wiener Zeitung suggested, one ‘could not see anything more ridiculous’ at the exhibition.[1] It would take another year for Kokoschka to manifest his position as enfant terrible of pre-war Austrian art: at the Kunstschau in 1909, he presented Murder, Hope of Women (Fig. 2). An expressionist play based on the struggle for power between male and female archetypes (the conqueror and the femme fatale), the performance caused so much outrage that its creator only narrowly escaped arrest. For all the scandal it caused, the play traced a significant shift in the artistic trajectory of Vienna 1900: moving away from the flowery decadence of art nouveau towards raw expressionism, a new generation of artists challenged the ideals of their predecessors at the dawn of the Great War. Continue reading

Rupture and Continuity: The Fate of the Habsburg Inheritance after 1918

At CRAACE, we analyse the transformations and continuities in Central European art and architecture after 1918. Bearing a similar title, a current exhibition at Vienna’s Imperial Furniture Collection makes a related effort. It focuses on imperial property and its history after the collapse of the Habsburg Empire. Who owned which parts of Habsburg property? What happened to the imperial household after 1918? And what is its legacy? These are the big questions that Rupture and Continuity, an exhibition organised at the Imperial Furniture Collection in Vienna aims to answer.

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Exhibition Review: Have No Fear of Modernism!

For eleven years, from 1928 to 1939, the School of Arts and Crafts in Bratislava (Škola umeleckých remesiel – ŠUR) was the hub of a budding Slovak modernism. Founded amid an economic crisis in a small city, the conditions for the ŠUR were not favourable – and yet, supported by the sheer determination of its director Jozef Vydra, it thrived as a public school that was, pronouncedly, not concerned with modern art but modern life. The first international exhibition about the ŠUR in the post-socialist era was shown at the city museums of Zwickau and Leverkusen and at the Bauhaus Dessau foundation in 1998, accompanied by a rich catalogue. While presenting an important initiative in unearthing the history of the ŠUR, the exhibition and catalogue, bearing the title Das Bauhaus im Osten (‘The Bauhaus in the East’), was conceptualised in close relation to Germany’s most legendary art school, over-emphasising the link between the two, at the cost of ignoring others. Twenty years on and in time for the ŠUR’s 90th birthday (as well as the Bauhaus centenary), the Slovak Design Museum puts a corrective lens on the school’s history with an exhibition in the spaces of the Historical Museum in Bratislava Castle.

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