Grotesque Visions

<i>Grotesque Visions</i> focuses on the radical avant-garde interventions of Salomo Friedländer (aka Mynona) Til Brugman and Hannah Höch as they challenged the questionable practices and evidentiary claims of late-19th- and early-20th-century science. Demonstrating the often excessive measures that pathologists anthropologists sexologists and medical professionals went to present their research in a seemingly unambiguous way this volume shows how Friedländer/Mynona Brugman Höch and other Berlin-based artists used the artistic grotesque to criticize satirize and subvert a variety of forms of supposed scientific objectivity.<br/> <br/> The volume concludes by examining the exhibition <i>Grotesk!: 130 Jahre Kunst der Frechheit</i>/<i>Comic Grotesque: Wit and Mockery in German Arts 1870-1940</i>. In contrast to the ahistorical and amorphous concept informing the exhibition Thomas O. Haakenson reveals a unique deployment of the artistic grotesque that targeted specific established and emerging scientific discourses at the turn of the last<i> fin-de-siècle</i>.