Critic's Notebook; German Art Still Breathes the Air of Ideas
HOW German is the New York art scene? At the moment and for the next few weeks, rather more than usual. After a fall season dominated by Matisse, it's almost as if a collective, unconscious decision had been made to give equal time to French art's traditional rival, German art. At the Museum of Modern Art, site of the fall's great Matisse retrospective, exhibitions of three important German artists are stacked one on top of another. A large, intriguing show of early work by the Dadaist-Surrealist Max Ernst is sandwiched between a retrospective of the drawings of Joseph Beuys, paterfamilias of postwar German art, and a survey of the scathing prewar photomontages of John Heartfield, which both chronicle and rail against the rise of Hitler. With their emphasis on ideas about art and society, their sense of moral imperative and their frequent lack of color, these shows create an esthetic climate far different from the lush if rigorous beauty of Matisse. Similar conditions prevail in "Photography and Contemporary German Art: 1960 to the Present," a large, often somber exhibition at the Guggenheim SoHo.