Bringing context and critique to the cultural moment. Deep dives, reviews, and debate encouraged.
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© 2020 Relevant Protocols Inc.
Bringing context and critique to the cultural moment. Deep dives, reviews, and debate encouraged.
40005 Members
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© 2020 Relevant Protocols Inc.
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"Christian Schad painted socialites and sex workers, quack doctors and modernist writers, boys kissing and women masturbating—scenes that a Cabaret fan might associate with the decadence of Weimar-era Berlin. But the Christian Schad Museum, which opened this past June in the Upper Bavarian town of Aschaffenburg, aims to situate the artist and his work outside these limited geographical and chronological bounds. Three floors, built into a renovated 17th-century Jesuit college, present a sizable portion of the more than 3,000 works and documents owned by the Christian Schad Foundation that span the artist’s life, 1894 to 1982. Perusing the materials, one sees that Schad kept a close eye on not just dynamic late-Weimar culture but also the artistic and ideological forms that flowered (and in some cases, withered) before and after."
"Christian Schad painted socialites and sex workers, quack doctors and modernist writers, boys kissing and women masturbating—scenes that a Cabaret fan might associate with the decadence of Weimar-era Berlin. But the Christian Schad Museum, which opened this past June in the Upper Bavarian town of Aschaffenburg, aims to situate the artist and his work outside these limited geographical and chronological bounds. Three floors, built into a renovated 17th-century Jesuit college, present a sizable portion of the more than 3,000 works and documents owned by the Christian Schad Foundation that span the artist’s life, 1894 to 1982. Perusing the materials, one sees that Schad kept a close eye on not just dynamic late-Weimar culture but also the artistic and ideological forms that flowered (and in some cases, withered) before and after."
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