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Try not to crack a smile at the sight of a polar bear crashing human picnics, photo-bombing social soirées, and seemingly just trying to fit in. That’s the challenge when perusing TeddyBär, a new photo book featuring dozens of bizarre photographs taken in Germany between the 1920s and ’60s featuring improbable cameos by a man in a bear costume and collected by French editor Jean-Marie Donat.
Unfortunately, the history behind the bear costume in many of the images is darker than you’d expect. It was created by the German stuffed animal company Steiff as a mascot for Fanta, the carbonated soda invented in Germany during World War II to make up for the shortage of Coca-Cola. Look a bit closer and you’ll see Nazi insignia and swastikas on the uniforms of soldiers linking arms with the bear and the dress of a smiling girl leaning in for a hug. The polar bear comes to symbolize the German desire to pretend things were normal — to enjoy a fizzy drink, pose for a silly photo with a furry friend — and ignore the fact that grizzly death was swirling all around.
Jean-Marie Donat’s TeddyBär series is currently on view at Les Rencontres de la Photographie at Arles 2015, through September 20.
Archeologists can now prove the Vikings made landfall in the Americas hundreds of years before Columbus reached the Bahamas.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.
“I am trying to keep the immediacy of my emotional experience while I’m painting.”
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.