A Matrix for New Art and Politics
This chapter examines interwar discourse on the masses as expressed through various art forms, literary genres, and performing arts. It considers works such as Hungarian artist László Moholy-Nagy's photoplastic images, which illustrate the idea of the masses underpinning the disciplines of mass psychology and mass sociology; Weimar artist Marianne Brandt's montages, which invites viewers to see the world through the eyes of a personification of the new woman; and Walter Benjamin's major writings from the late 1920s and through the 1930s, which explore how contemporary modes of aesthetic representation and visual perception referred to “the collective,” just like the culture of an earlier era expressed a social life organized around “the individual”.
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