By Stephanie Lebas Huber,
In May 1929, the Stedelijk Museum in Amsterdam held an exhibition of German paintings under the banner of “Neue Sachlichkeit,” based on Gustav Hartlaub’s seminal 1925 show at the Kunsthalle Mannheim of the same title. The Amsterdam leg of the tour exhibited many of the same artists included in the original program. Well-known painters such as George Grosz, Rudolf Schlichter, Carl Mense, and George Schrimpf hung alongside several other artists who did not appear in the Mannheim iteration, including Franz Radziwill, Christian Schad, and Carl Grossberg.
By Nolan Gear,
Corroding Geometries: Elsa Gramcko, Automobility, and the Paradoxes of Venezuelan Modernity, 1955–1965
By Devon Zimmerman,
© 2023 Johns Hopkins University Press
By Laura Lomas,
Julia de Burgos (1914–53), one of Puerto Rico’s greatest poets, haunts the American literary imagination from the borders of the modern. Her ghostly presence, desperate and furious, searches for interlocutors on the bridge to Welfare Island, historically a warehouse for the poor, the criminalized and sick just east of the United Nations. Julia’s barefoot figure wandering across that bridge in her bata, just as she describes in letters to her sister Consuelo in 1953, positions her to catch the eye of today’s visitors to the newly restored and renamed Roosevelt Island, which offers no physical reminders of this important Puerto Rican and American poet’s residence there. Nothing in the island’s glistening white granite park mentions the two poems Burgos wrote in English when Roosevelt Island was Welfare Island, months before her death in Spanish Harlem.