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in The Last Dwelling before the Last: Siegfried Kracauer’s Critical Contribution to the Modernist Housing Debate in Weimar Germany
> New German Critique
Published: 01 November 2020
Figure 9. Frankfurt standard floor plan as a photomontage in Giedion, Befreites Wohnen , 36–37.
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in Art in the First Screen Age: László Moholy-Nagy and the Affordances of Surfaces, Canvases, and Scrims
> New German Critique
Published: 01 February 2024
Figure 12. László Moholy-Nagy (and Lucia Moholy?), photomontage for projection in The Merchant of Berlin , Piscator Theater (1929).
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Journal Article
New German Critique (2009) 36 (2 (107)): 89–131.
Published: 01 August 2009
...Elizabeth Otto This essay focuses on the photomontages of László Moholy-Nagy and Marianne Brandt primarily during their time at the Bauhaus. Initially inspired by Berlin Dada's fragmentary montaged critiques, both of these photomonteurs quickly turned to a constructivist approach that placed...
Journal Article
New German Critique (2017) 44 (2 (131)): 25–40.
Published: 01 August 2017
...Misa Nikolic Apart from the work of Eduard Fuchs, there has been little Marxist scholarship on caricature and satire. This is a glaring omission, especially in light of the work of John Heartfield, whose photomontages were viewed across the political spectrum as well as across class boundaries...
Journal Article
New German Critique (2009) 36 (2 (107)): 53–88.
Published: 01 August 2009
...Sabine Kriebel Because photomontage is based on the structural principle of pictorial rupture and reassembly, the medium is understood in scholarly literature as the symbolic register of the shocks and disjunctures of modern life. Yet most of John Heartfield's photomontages for the communist...
Journal Article
New German Critique (2009) 36 (2 (107)): 1–4.
Published: 01 August 2009
... © 2009 by New German Critique, Inc. 2009 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. Introduction
The Editors
Dada invented and dispersed photomontage...
Journal Article
New German Critique (2009) 36 (2 (107)): 133–183.
Published: 01 August 2009
... and thus a member of one of its diaspora nationalities. Despite their formal and procedural differences, both artists promoted photomontage as the premier agitational weapon of world communism and Soviet propaganda, contra the rise of documentary photography as well as various modes of realist painting...
Journal Article
New German Critique (2012) 39 (1 (115)): 169–197.
Published: 01 February 2012
... and
photomontage. While Dada artists had already deployed photography’s real-
ism in ideologically charged photomontages during the war, postwar news-
papers and photomagazines enlisted photography as but one powerful tool in
a semiotic arsenal that assembled various visual and verbal devices—type,
iconic...
Journal Article
New German Critique (2009) 36 (2 (107)): 185–205.
Published: 01 August 2009
... Europe and this avant-garde artist led to the fusion of the international reputation of Heartfield's photomontages and of Münzenberg's Arbeiter-Illustrierte-Zeitung ( AIZ ) in 1929. Consequently, Münzenberg formed a transnational network that relied unintentionally on the various publishers...
Journal Article
New German Critique (2009) 36 (2 (107)): ii.
Published: 01 August 2009
... 2009 New German Critique
Number 107 • Summer 2009
Dada and Photomontage
across Borders
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
The Editors
A “Political...
Journal Article
New German Critique (2009) 36 (2 (107)): 5–51.
Published: 01 August 2009
... photomontages, here he avoided the photographic basis of film because it lent itself all too easily to prowar propaganda. His work with George Grosz, by contrast, attempted to reinsert somatic terror into representations of the war and thereby to counter the visually sedative aspect of contemporary German war...
Journal Article
New German Critique (2017) 44 (2 (131)): 1–24.
Published: 01 August 2017
...Cristina Cuevas-Wolf The German photomontagist John Heartfield visualized Willi Münzenberg's antifascist position in the Communist Party as early as 1932 and became famous for antifascist photomontages, published exclusively in the Arbeiter-Illustrierte-Zeitung (AIZ) from 1929 to 1938. Heartfield...
Journal Article
New German Critique (2008) 35 (1 (103)): 97–126.
Published: 01 February 2008
..., the Executioner of the
Third Reich”) was produced in August and contained six elements: (1) the
burning Reichstag (the image was used in his fi rst photomontage for the AIZ in
Prague, “Durch Licht zur Nacht” [“Through the Light to Night which
appeared in May 1933 depicting Goebbels and the book burning...
Journal Article
New German Critique (2013) 40 (3 (120)): 1–40.
Published: 01 November 2013
...
photo and film presentations so popular in Weimar media. Benjamin Buchloh
has argued that Weimar collage and photomontage aesthetics displayed two
distinct tendencies: one, exemplified by early Dada art, based on “the order of
the perceptual shock” and the other, exemplified by Benjamin...
Journal Article
New German Critique (2013) 40 (2 (119)): 137–165.
Published: 01 August 2013
... Interregnum
Figure 4. Anonymous photomontage illustrating Willi Münzenberg, “Steel Whips, Hunger,
and Barbed Wire: The Shame of the Concentration Camps” (“Stahlruten, Hunger und Stachel
draht. Die Schande der Konzentrationslager AIZ, April 24, 1933. Photo: Department of
Special Collections...
Journal Article
New German Critique (2024) 51 (2 (152)): 1–26.
Published: 01 August 2024
... to say about women’s roles in German silent-film production, the gender of editing, and the radical potential of montage. Hannah Höch’s well-known photomontage Cut with a Kitchen Knife: Dada through the Last Weimar Beer-Belly Cultural Epoch in Germany (1919–20) is suggestive here. Höch’s title names...
FIGURES
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Journal Article
New German Critique (2012) 39 (2 (116)): 11–24.
Published: 01 August 2012
... Institution (Frankfurt am Main: Lang, 2001); Elizabeth Otto, Tempo, Tempo! The Bau-
haus Photomontages of Marianne Brandt (Berlin: Bauhaus-Archiv, 2005); Otto, “A ‘Schooling of
the Senses’: Post-Dada Visual Experiments in the Bauhaus Photomontages of László Moholy-Nagy
and Marianne Brandt,” New German...
Journal Article
New German Critique (2018) 45 (1 (133)): 207–245.
Published: 01 February 2018
... 1929, 365, and June 1929, 435.
44. Wedderkop, “Köln bei Nacht.”
45. Haacke and Baeyer, Facsimile Querschnitt, 9, 12.
222 Art, Mass Culture, and Antitourism
Das Romanische Café: The Reporter and Travel Writer
In a photomontage in the Berlin Wochen-Spiegel in 1926, a year before Nicht...
Journal Article
New German Critique (2024) 51 (1 (151)): 33–76.
Published: 01 February 2024
...Figure 12. László Moholy-Nagy (and Lucia Moholy?), photomontage for projection in The Merchant of Berlin , Piscator Theater (1929). ...
FIGURES
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Journal Article
New German Critique (2010) 37 (2 (110)): 209–227.
Published: 01 August 2010
... photomontages of Berlin’s revolutionary avant-garde were sim-
ply ignored as too compromised for Cold War palates. Indeed, very little in
the contradictory trajectory of German art fit the triumphalist narrative that
emerged with the Cold War and secured New York’s place in the pantheon of
modernism...
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