The vision of modernity at CES creates excitement -- and bewilderment. But the new has always been disturbing, as shown in LACMA's New Objectivity: Modern German Art In The Weimar Republic, 1919–1933, ...

“Nothing is more exotic than what surrounds us, nothing is more imaginative than objectivity,” said the Austrian-Czech writer Egon Erwin Kisch in 1925. Kisch is among the dozens of writers, painters, ...

A Copenhagen exhibition offers a rich view into the creative production and daily life in the Weimar Republic, with its glamour and its grotesquerie. I sat with the poem while music of the era played ...

In the aftermath of the First World War, avant-garde, utopian and idealistic styles were rejected as superficial by German artists who sought more realistic responses to the everyday world of post-war ...

The end of the First World War shocked the arts, nowhere more so than in Germany. Empire was out. Democracy was in. A thin veil of liberalism shrouded the darker forces of defeatism, instability, and ...

German artists and intellectuals in the 1920s interpreted their new reality, shaped by the traumatic military defeat in the First World War and the political and economic turmoil of the early Weimar ...

Prologue: objectivity shock -- I. Epistemologies of the eye: Blind sight -- Collective empiricism -- Objectivity is new -- Histories of the scientific self -- Epistemic virtues -- The argument -- ...