E.O. Hoppé Estate Collection Newsletter | December 2011

E.O. Hoppé, Large Alternator, Siemens-Schuckert werk, Gartenfeld, Germany, 1928

E.O. Hoppé is Returned to the German Avant–Garde
The Mad Square: Modernity in German Art 1910–37

For the first time in recent years German-born British photographer E.O. Hoppé is featured alongside his peers with leading artists such as Max Beckmann, Otto Dix, George Grosz, Hannah Höch, El Lissitzky, László Moholy–Nagy, Albert Renger–Patszch, August Sander, and Werner Mantz in the recent exhibition at the Art Gallery of New South Wales, Sydney entitled The Mad Square: Modernity in German Art 1910–37.

Curator Jacqueline Strecker assembled over 200 diverse works from major international and Australian collections exploring the provocative and complex ways in which artists sought to portray the modern world. As Strecker explains, “Germany at the start of the 20th century was a country in turmoil. With the formation of the Weimar Republic, replacing the old imperial system, came a dramatic shift in thinking. In the new metropolis of Berlin and beyond, a period of intense creativity flourished amid chaos and revolution. Bold new movements such as Expressionism, Dada, Constructivism, Bauhaus and New Objectivity exploded onto the turbulent social landscape. The artists’ interest in experimentation extended across art forms, forging influential directions in painting, photography, design, decorative arts, film, theatre, street art and political satire.”

As a Photo–Modernist actively leading the global art scene in London, New York and Berlin in the 1920s and 1930s, E.O. Hoppé was highly influential in international art circles of the era. Regularly presented alongside his fellow German Photo–Modernist pioneers, Hoppé was considered the international elite of the group because of his concurrent fame in the United States – exhibiting and being published alongside his American peers Alfred Stieglitz, Paul Strand, Walker Evans, Edward Steichen, Charles Sheeler, Ansel Adams, and Edward Weston.

Visual comparisons of Hoppé’s work alongside those of his European and American contemporaries, viewable here, have initiated a new round of interest and discussion about Hoppé’s role among the early Modernists.

The Mad Square: Modernity in German Art 1910–37 exibited August 06 through November 06, 2011 at the Art Gallery of New South Wales, Sydney.

Forthcoming Titles (20122013):

E.O. Hoppé: Nudes, 1909–1936 (Curatorial Assistance, 2012)
One Hundred Photographs: E.O. Hoppé and the Ballets Russes
(Curatorial Assistance, 2012)
E.O. Hoppé: The German Work, Photographs 1925–1938 (Steidl, 2012)
E.O. Hoppé: Indian Subcontinent of the Cusp of Change
E.O. Hoppé: The British Machine, Photographs of Industrial Britain Between the Wars

Current Titles:
Hoppé Portraits: Society, Studio, and Street, Photographs 1909–1945 (National Portrait Gallery, 2011)
E.O. Hoppé’s Bombay: Photographs from 1929
(Marg Publications, 2010)
E.O. Hoppé’s Santiniketan: Photographs from 1929 (Marg Foundation, 2010)
E.O. Hoppé’s Amerika: Modernist Photographs from the 1920s (W.W. Norton, 2007)
E.O. Hoppé’s Australia (W.W. Norton, 2007)
Hoppé’s London (Guiding Light, London, August 2006)

E.O. Hoppé vintage prints are available from:

Bruce Silverstein Gallery, New York
Michael Hoppen Gallery, London
Josef Lebovic Gallery, Sydney

©2011 The E.O. Hoppé Estate Collection | c/o Curatorial Assistance, Inc.
113 East Union Street • Pasadena California 91103 USA • 626 577 9696
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