jay rechsteiner

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The New Man This painting draws inspiration from Otto Freundlich's sculpture Der Neue Mensch, which was destroyed by the Nazis. A photograph of this sculpture was notably featured on the cover of the 1937 exhibition guide for the infamous "Entartete Kunst" (Degenerate Art) exhibition. Read more about it her: https://www.germanexpressionismleicester.org/leicesters-collection/books-and-other-publications/degenerate-art-exhibition-guide-star/ In light of the historical context, marked by the COVID-19 pandemic and the protests sparked by George Floyd's murder by the police, we are witnessing rapid and profound changes. The status quo is being challenged by vast numbers of people, prompting us to seek new definitions. In this transformative period, Freundlich's work, Der Neue Mensch, remains profoundly relevant. I have intentionally chosen to translate "human" to "man." As a German speaker, I find the term "man" in English perplexing because it is used to describe all humankind, encompassing both men and women. This reflects a deep-seated male dominance within culture, a theme I aim to highlight in this painting. The German language also exemplifies this bias; for instance, the word for "team" is "Mannschaft," combining "Mann" (man) and the suffix "schaft." When referring to a female team, "Frauenmannschaft" is often used. This raises the question: why must "Mann" be included? While "Frauschaft" could be a justified alternative, it is uncomfortably close to "Frauenschaft," a term used by the Nazis for the National Socialist Women's League. This linguistic nuance is just one facet of the broader discussion I wish to provoke with this work.   Exploring Identity This piece poses open-ended questions about the nature of identity and societal constructs: What is the new man? Who is the new man? Is this figure the culmination of human evolution or the product of our historical conditioning? Is the new man a temporary construct shaped by media? Does the new man challenge the old ways of life and established power structures? Is the new man a modern individual, transcending traditional gender roles? Could the new man be genderless, double-gendered, or part of the third gender? Is the new man a revolutionary figure, poised to bring change? Does the new man represent the collective human experience or stand as a solitary figure? Is the new man a tangible entity?   Nature and Definition of Painting Additionally, this work questions the essence and boundaries of painting itself. How far can a painting extend beyond its traditional confines? When does it cease to be merely a painting and begin to embody a different form of expression?   Display The fabric is pinned to the wall in a wrinkled state, echoing the rough surface of Freundlich's original stone sculpture. I chose white fabric with black paint to write "THE NEW MAN," evoking a stark contrast reminiscent of black-and-white imagery. To me, black and white symbolize the past—a world seen through a monochromatic lens. Dimensions: 250 cm x 250 cm

 

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