Webinar Authors in Conversation: Theresia Enzensberger and Elizabeth Otto

Elizabeth Otto, Theresia Enzensberger Elizabeth Otto©Otto, Theresia Enzensberger©Rosanna Graf

Thu, 06/11/2020

Online

Presented by Goethe-Institut Boston and CGES Online

A novel about one female Bauhaus student by Theresia Enzensberger, and a non-fiction account of 45 Bauhaus women unjustifiably forgotten by Elizabeth Otto: an author’s and a researcher’s take on the famous art school in Weimar Germany that celebrated its 100th anniversary last year.
Blueprint, Enzensberger’s highly readable novel is a celebration of student life at the Bauhaus school, an enlightening introduction to the aesthetic and political debates of the modernist avant-garde, and a reflection on the new opportunities and challenges for female artists in Weimar Germany. Bauhaus Women – A Global Perspective, Otto’s Chronology from the first women to enter the school to those who helped lead it through its last days in 1933, widens the lens to reveal how the Bauhaus drew women from many parts of Europe and beyond, and how, through these cosmopolitan female designers, artists, and architects, it sent the Bauhaus message out into the world and to a global audience.
Theresia Enzensberger was born in 1986 in Munich and now lives in Berlin. She studied film at Bard College in New York and works as a freelance journalist for publications including the Frankfurter Allgemeine Zeitung, Zeit Online, Krautreporter and Monopol. In 2014 she founded the award-winning BLOCK magazine.
Elizabeth Otto is an art historian specialized in modern art, gender, and media culture in early twentieth-century Germany. She is the author of Haunted Bauhaus: Occult Spirituality, Gender Fluidity, Queer Identities, and Radical Politics, Tempo, Tempo! The Bauhaus Photomontages of Marianne Brandt, and, together with Patrick Rössler, Bauhaus Women: A Global Perspective. Otto is a professor at the University at Buffalo (SUNY) and has served as the Executive Director of the Humanities Institute. She is currently a fellow at the Center for Advanced Study in the Visual Arts at the National Gallery in Washington, D.C.

Presented in collaboration with the Center for German and European Studies, Brandeis University

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