Photography and Germany
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The meeting of photography and Germany evokes pioneering modernist pictures from the Weimar era and colossal digital prints that define the medium’s art practice today. It also recalls horrifying documents of wartime atrocity and the relentless surveillance of East German citizens. This publication broadens these perceptions by examining photography’s multi-faceted(...)
Photography and Germany
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$42.00
(available to order)
Summary:
The meeting of photography and Germany evokes pioneering modernist pictures from the Weimar era and colossal digital prints that define the medium’s art practice today. It also recalls horrifying documents of wartime atrocity and the relentless surveillance of East German citizens. This publication broadens these perceptions by examining photography’s multi-faceted relationship with Germany’s turbulent cultural, political and social history. It shows how many of the same phenomena that helped generate the country’s most recognizable photographs also led to a range of lesser-known pictures that similarly documented or negotiated Germany’s cultural identity and historical ruptures.
Theory of Photography
Photography and doubt
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Recent decades have seen photography’s privileged relationship to the real come under question. Spurred by the postmodern critique of photography in the 1980s and the rise of digital technologies soon thereafter, scholars have been asking who and what built this understanding of the medium in the first place. "Photography and doubt" reflects on this interest in(...)
Theory of Photography
January 2017
Photography and doubt
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$69.90
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Summary:
Recent decades have seen photography’s privileged relationship to the real come under question. Spurred by the postmodern critique of photography in the 1980s and the rise of digital technologies soon thereafter, scholars have been asking who and what built this understanding of the medium in the first place. "Photography and doubt" reflects on this interest in photography’s referential power by discussing it in rigorously historical terms. How was the understanding of photographic realism cultivated in the first place? What do cases of staged and manipulated photography reveal about that realism’s hold on audiences across the medium’s history? Have doubts about photography’s testimonial power stimulated as much knowledge as its realism?
Theory of Photography
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While the public’s acceptance of photographs as visual evidence made documentary photography possible, canny interventions employed by image makers and their editors alternately exploit and dismantle assumptions of the medium’s transparency, testing our wish to see pictures inspire social change. Among the photographers included in the exhibition and book are Berenice(...)
Photography Collections
January 2018
Subjective objective: a century of social photography
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While the public’s acceptance of photographs as visual evidence made documentary photography possible, canny interventions employed by image makers and their editors alternately exploit and dismantle assumptions of the medium’s transparency, testing our wish to see pictures inspire social change. Among the photographers included in the exhibition and book are Berenice Abbott, Max Alpert, William Castellana, Walker Evans, Larry Fink, LaToya Ruby Frazier, Lewis Hine, Boris Ignatovich, Dorothea Lange, Igor Moukhin, Gordon Parks, Alexander Rodchenko, Arthur Rothstein, Sebastião Salgado, Arkady Shaikhet, Aaron Siskind, W. Eugene Smith, Weegee et al.
Photography Collections
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Working in Germany between the two world wars, John Heartfield (born Helmut Herzfeld, 1891–1968) developed an innovative method of appropriating and reusing photographs to powerful political effect. As a pioneer of modern photomontage, he sliced up mass media photos with his iconic scissors and then reassembled the fragments into compositions that utterly transformed the(...)
John Heartfield and the agitated image: photography, persuasion, and the rise of avant-garde photomontage
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Working in Germany between the two world wars, John Heartfield (born Helmut Herzfeld, 1891–1968) developed an innovative method of appropriating and reusing photographs to powerful political effect. As a pioneer of modern photomontage, he sliced up mass media photos with his iconic scissors and then reassembled the fragments into compositions that utterly transformed the meaning of the originals. In John Heartfield and the Agitated Image, Andrés Mario Zervigón explores this crucial period in the life and work of a brilliant, radical artist whose desire to disclose the truth obscured by the mainstream press and imperial propaganda made him a de facto prosecutor of Germany’s visual culture.
Photography monographs