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Journal articles on the topic 'Heartfield'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2024

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1

Arslan, Doğan. "John Heartfield’s Photomontages as a Political Tool." European Journal of Multidisciplinary Studies 3, no. 4 (November 29, 2018): 75. http://dx.doi.org/10.26417/ejms.v3i4.p75-84.

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It is the fact that art often involves with politics. It can work both of sides, either with a political ideology or against of it. The strong relationship between art and politic was occurred during the World War I and World War II. As a member of Berlin Dadaist Art Movement, John Heartfield made sharp opposition with his photomontage works against the Hitler regime in Germany. Since photomontage became anti-art technique against traditional painting in Dada Movement, Heartfield used this technique to criticize his opponents, Adolph Hitler and Mussolini. This research will focus on how Heartfield attacked and disrupted with his photomontages to his opponents. Later on, I will analyze photomontages of Peter Kennard and Klaus Staeck, contemporary artists and designers, who were inspired by Heartfield’s photomontage methodology and his artistic activism. The qualitative research and comparative methodology were used in this research. The findings of the research showed that Heartfield became the pioneer of using photomontage technique in his time. He realized that he could use photography to express his politic thoughts and ideas in collage making. He used photomontage as a political weapon against his political oppositions. Kennard and Staeck, like Heartfield, used photomontage to support and defend their political issues in their time, too. Finannly, this research shows that Dada artist, John Heartfield as well as contemporaray designer and artist Peter Kennard and Klaus Staeck used the photomontage to make a social criticism through their conceptual and powerful works. Their initial approaches were not making design for a client or gallery to sell their works, but they wanted to be, as “artists-activists”, part of social changes in their time.

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2

Akbar, Naufal. "PROPAGANDA ANTINAZI PADA FOTO MONTASE KARYA JOHN HEARTFIELD DENGAN PENDEKATAN ANALISIS SEMIOTIKA." spectā : Journal of Photography, Arts, and Media 6, no. 2 (January 9, 2023): 117–26. http://dx.doi.org/10.24821/specta.v6i2.7616.

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This research focused on the relationship between art and social context, politic, and culture. The artwork is photomontages. Visualization on photomontage sometimes describe the social reality that emerged and developed at the era before World War II started. In Arbeiter Illustrierte Zeitung magazine which was a working class magazine during World War II there was one photomontage artist named John Heartfield who published his photomontages containing anti-Nazi propaganda. The purpose of this research was to determine the meaning of four photomontages by John Heartfield. The research method is carried out by observing and collecting data at the level of denotation and connotation with Roland Barthes' semiotic theory, as well as knowing how John Heartfield communicates propaganda through his works. The results of this research indicate that the photomontages of antiNazi propaganda by John Heartfield denotatively contains the meaning of criticism through visuals combining the figure of Adolf Hitler, Swastika, and goddess Themis with symbols based on ancient Europeans culture. In connotation, the meaning of criticism contained shows criticism of political and war crimes committed by the German people, from The Prussian Empire to The Nazi Party led by Adolf Hitler.

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3

Ré, Henrique Antonio. "Uma história da British and Foreign Anti-Slavery Society: a instituição que internacionalizou o antiescravismo britânico." Revista de História, no. 176 (December 5, 2017): 01. http://dx.doi.org/10.11606/issn.2316-9141.rh.2017.131762.

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4

Laguna Martínez, Ana. "The Photographic Metaphor: Heartfield, Brecht, Sebald." Escritura e Imagen 17 (November 24, 2021): 69–87. http://dx.doi.org/10.5209/esim.78934.

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From a semiotic point of view, photography is still considered a different kind of sign. Then, how can imagetext works be studied, formed by photography and word? This article argues that fictional texts expose the semiotic nature of photographs, showing that photographs are signs, different from their referents. The fictional, intermedial texts studied here are John Heartfield’s, Bertolt Brecht’s, and W.G. Sebald’s: three authors linked by German history. In the light of Umberto Eco’s semiotics, photographs can also be considered metaphors, enable to provide a new kind of iconicity and to overcome their realistic weight.

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5

Toman, Jindřich. "Émigré Traces: John Heartfield in Prague." History of Photography 32, no. 3 (May 27, 2008): 272–86. http://dx.doi.org/10.1080/03087290802018892.

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6

Heartfield, John. "Voices: Responses to John Heartfield: Stimulus/Response." Circa, no. 63 (1993): 44. http://dx.doi.org/10.2307/25557750.

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7

Kuenzli, Rudolf E. "John Heartfield and the Arbeiter-Illustrierte-Zeitung." Journal of Communication Inquiry 13, no. 1 (January 1989): 31–42. http://dx.doi.org/10.1177/019685998901300102.

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8

Paenhuysen, An. "Kurt Tucholsky, John Heartfield andDeutschland, Deutschland über Alles." History of Photography 33, no. 1 (February 2009): 39–54. http://dx.doi.org/10.1080/03087290802582921.

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9

Mirza, Munira. "James Heartfield,The death of the subject explained." International Journal of Cultural Policy 16, no. 1 (February 2010): 58–59. http://dx.doi.org/10.1080/10286630902971587.

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10

Fabris, Annateresa. "A fotomontagem como função política." História (São Paulo) 22, no. 1 (2003): 11–58. http://dx.doi.org/10.1590/s0101-90742003000100002.

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O movimento dadá em Berlim distingue-se por um projeto de intervenção política, em sintonia com a orientação ideológica de vários de seus integrantes. Entre estes pode ser destacado John Heartfield, interessado, desde 1915, em desenvolver uma linguagem ao mesmo tempo moderna e acessível a um público de massa. Para tanto, lança mão da fotografia nas capas executadas para a editora Malik e é responsável pelo desenvolvimento da fotomontagem política, que divulga sobretudo numa revista do Partido Comunista Alemão, o Arbeiter Illustrierte Zeitung.

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11

Gaughan, Martin. "Art and Politics: John Heartfield Reconsidered: The Struggle of Humanity." Circa, no. 62 (1992): 26. http://dx.doi.org/10.2307/25557714.

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12

Mathieu, Gustave Bording. "The Photomontages of John Heartfield: A Provocative Teaching Tool for Landeskunde." Die Unterrichtspraxis / Teaching German 25, no. 1 (1992): 49. http://dx.doi.org/10.2307/3531411.

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13

Ruchel-Stockmans, Katarzyna. "Representing the Past in Photomontage: John Heartfield as a Visual Historian." Modernist Cultures 3, no. 2 (May 2008): 154–72. http://dx.doi.org/10.3366/e2041102209000392.

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The practice of history and the technique of montage seem to have met at some point of their development to forge a new way of thinking about the past. This new paradigm crystallized around the period between the First and the Second World War, when the proliferation of montage techniques in visual arts and film was accompanied by a broad theoretical discussion on the relevance of the new procedure in arranging and organizing photographic ‘facts’.

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14

Kriebel, S. "Photomontage in the Year 1932: John Heartfield and the National Socialists." Oxford Art Journal 31, no. 1 (November 9, 2007): 97–127. http://dx.doi.org/10.1093/oxartj/kcn007.

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15

Cho, Han-ryul. "Foto und Text in Fotomontagewerken von John Heartfield - Lesen und Sehen -." Hesse-Forschung 37 (June 30, 2017): 213–33. http://dx.doi.org/10.31133/hf.2017.06.37.213.

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16

Chametzky, Peter. "Sabine T. Kriebel. Revolutionary Beauty: The Radical Photomontages of John Heartfield." American Historical Review 120, no. 2 (April 2015): 736–37. http://dx.doi.org/10.1093/ahr/120.2.736.

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17

Cuevas-Wolf, Cristina. "Montage as Weapon: The Tactical Alliance between Willi Münzenberg and John Heartfield." New German Critique 36, no. 2 (2009): 185–205. http://dx.doi.org/10.1215/0094033x-2009-005.

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18

Luke, Megan R. "Revolutionary Beauty: The Radical Photomontages of John Heartfield by Sabine T. Kriebel." German Studies Review 39, no. 2 (2016): 403–5. http://dx.doi.org/10.1353/gsr.2016.0073.

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19

Harling, Philip. "James Heartfield. The British and Foreign Anti-Slavery Society, 1838–1956: A History." American Historical Review 123, no. 1 (February 1, 2018): 306. http://dx.doi.org/10.1093/ahr/123.1.306.

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20

Rosa, Pollyana Ferreira. "A Montagem de Heartfield na Guerra Ideológica às vésperas da Ascensão Nazista na Alemanha." Fronteiras 21, no. 36 (December 19, 2018): 71–97. http://dx.doi.org/10.30612/frh.v21i36.9417.

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Nos últimos anos da República de Weimar, o fotojornalismo moderno e suas composições de imagens eram consumidas em massa por meio das revistas ilustradas. O fato de a aparência mimética da fotografia dar credibilidade aos textos não tardou a chamar a atenção de críticos de esquerda, observando que essa operação permitia a manipulação ou falseamento da realidade. Observaram-no também os líderes nazistas, que souberam utilizar tais características a seu favor. As montagens de Heartfield nas páginas da revista AIZ (Revista Ilustrada dos Trabalhadores) buscavam, segundo propomos, enfrentar essa questão. Sua estratégia consistiria em expor o caráter construído da fotografia por meio de operações que podem ser descritas enquanto estranhamentos que promovam distanciamento crítico (nas definições de Brecht) no leitor: pelo cômico/absurdo da fotomontagem-caricatura e por desmascarar os mecanismos de manipulação da leitura de composições de imagens. No entanto, a esquerda ligada ao Partido Comunista Alemão – como era o caso da revista AIZ, ainda que não explícito – subestimou o movimento nacional-socialista até quase às vésperas de sua ascensão ao poder. Veremos aqui algumas cenas dessa guerra ideológica.

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21

Hake, Sabine. "Proletarian Modernism and the Politics of Emotion: On Franz Wilhelm Seiwert and John Heartfield." Modernism/modernity 27, no. 4 (2020): 735–67. http://dx.doi.org/10.1353/mod.2020.0061.

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22

Gough, Maria. "Back in the USSR: John Heartfield, Gustavs Klucis, and the Medium of Soviet Propaganda." New German Critique 36, no. 2 (2009): 133–83. http://dx.doi.org/10.1215/0094033x-2009-004.

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23

Middleton, Alex. "The British and Foreign Anti-Slavery Society, 1838–1956: A History, by James Heartfield." English Historical Review 133, no. 563 (June 14, 2018): 984–86. http://dx.doi.org/10.1093/ehr/cey187.

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24

Lewer, Debbie. "John Heartfield and the Agitated Image: Photography, Persuasion, and the Rise of the Avant-Garde Photomontage." History of Photography 38, no. 4 (October 2, 2014): 435–37. http://dx.doi.org/10.1080/03087298.2014.967941.

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25

Zehnhoff, H. W. AM. "Satire in word and image: satirical techniques of John Heartfield and Kurt Tucholsky inDeutschland, Deutschland über alles." Word & Image 4, no. 1 (January 1988): 157–62. http://dx.doi.org/10.1080/02666286.1988.10436231.

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26

Krenn, Martin. "Inclusive history politics in the arts: Intervention at the Peace Cross St. Lorenz." Art & the Public Sphere 9, no. 1-2 (December 1, 2020): 119–29. http://dx.doi.org/10.1386/aps_00037_1.

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The text discusses inclusion and social engagement in art, which are central to my practice. My projects operate at the interface between dialogical education and participatory as well as collective art making. By referring to Kester’s critique of New Labour policies of the late 1990s as leading to a de-radicalized Marxism I argue for an agonistic method that I connect with the idea of ‘radical inclusion’ as a strategic approach to democratization. The problem of Austrian history politics and how the country created the myth of Austria as the first victim of Nazi Germany is the main focus of my intervention at the Peace Cross St. Lorenz in Lower Austria, which serves as an example of my artistic practice of ‘radical inclusion’. The peace cross exists since the 1960s and is celebrating the Jockisch task force. Contemporary historical research has revealed that this combat group was actively involved in war crimes during the Second World War. To counter the myth of an innocent Wehrmacht I mounted in front of the cross a photomontage made in 1933 by the antifascist artist John Heartfield. Additionally, the memorial is augmented by five signboards which present collages produced by local school pupils during a workshop that took place over a period of six months.

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27

DONINGTON, KATIE. "The British and Foreign Anti-Slavery Society, 1838-1956: A History. By James Heartfield. Hurst. 2016. xii + 486pp. £45.00." History 103, no. 357 (September 23, 2018): 679–81. http://dx.doi.org/10.1111/1468-229x.12653.

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28

Shaw, Caroline. "The Aborigines' Protection Society: Humanitarian Imperialism in Australia, New Zealand, Fiji, Canada, South Africa and the Congo, 1839-1909by James Heartfield." Journal of Human Rights 14, no. 3 (January 6, 2015): 439–44. http://dx.doi.org/10.1080/14754835.2014.988785.

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29

Samson, Jane. "The Aborigines’ Protection Society: humanitarian imperialism in Australia, New Zealand, Fiji, Canada, South Africa, and the Congo, 1837–1909. By James Heartfield." Journal of Pacific History 47, no. 4 (December 2012): 528–30. http://dx.doi.org/10.1080/00223344.2012.727219.

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30

Hinely, Susan. "The Aborigines’ Protection Society: Humanitarian Imperialism in Australia, New Zealand, Fiji, Canada, South Africa, and the Congo, 1836-1909 by James Heartfield." Human Rights Review 16, no. 4 (September 26, 2015): 419–21. http://dx.doi.org/10.1007/s12142-015-0380-4.

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31

Oldfield, J. R. "James Heartfield . The British and Foreign Anti-Slavery Society, 1838–1956: A History. Oxford: Oxford University Press, 2016. Pp. xii + 486. $65.00 (cloth)." Journal of British Studies 57, no. 1 (January 2018): 198–200. http://dx.doi.org/10.1017/jbr.2017.221.

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32

Asimakopoulos, John. "Book Review: James Heartfield, British Workers & the US Civil War: How Karl Marx and the Lancashire Weavers Joined Abraham Lincoln’s Fight against Slavery 150 Years Ago." Theory in Action 6, no. 2 (April 30, 2013): 179–82. http://dx.doi.org/10.3798/tia.1937-0237.13017.

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33

Roth, Nancy. "Heartfield's Collaboration." Oxford Art Journal 29, no. 3 (October 1, 2006): 395–418. http://dx.doi.org/10.1093/oxartj/kcl016.

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34

Spaulding, Daniel. "John Heartfield’s Communism." Historical Materialism 25, no. 3 (December 13, 2017): 223–38. http://dx.doi.org/10.1163/1569206x-12341532.

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Abstract Sabine T. Kriebel’s Revolutionary Beauty is the most thorough study to date of the Communist photomontage artist John Heartfield’s work for the Arbeiter-Illustrierte-Zeitung (aiz) in the late 1920s and 1930s. Kriebel analyses Heartfield’s production through the frame of ‘suture’, a concept she derives from film theory. She argues that Heartfield’s work at once stimulated collective solidarity at the same time as it cultivated habits of visual suspicion and active political thinking in ways that may not have always coincided with official Communist aesthetic doctrine. Although Kriebel’s approach yields many valuable insights, there is nonetheless a danger that her theory of subject-formation may preclude a more critical understanding of representative politics as a form of mediation.

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35

Kick, Verena R. "From Photobook to Digital Book: Curating Weimar Germany’s New Visual Literacy Online." Seminar: A Journal of Germanic Studies 57, no. 3 (August 1, 2021): 243–63. http://dx.doi.org/10.3138/seminar.57.3.3.

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This contribution focuses on the digital curation of Weimar Germany’s new visual literacy, using Kurt Tucholsky and John Heartfield’s photobook Deutschland, Deutschland über Alles as a case study to examine in which ways a photobook and accompanying research can be showcased online. Tucholsky and Heartfield’s work is an example of the photobook genre that rose to prominence in the 1920s, also for its potential to serve as an “Übungsatlas” (Walter Benjamin) for the new visual literacy. In curating the photobook online, using the publishing platform Scalar and the media repository Critical Commons, the photobook and the accompanying research not only become easily accessible to fellow researchers, students, and the public, but it also becomes possible to emulate and thus explore Weimar Germany’s new visual literacy online. Curating Tucholsky and Heartfield’s photobook and the related analysis online allows for a reflection on digital curation as scholarship, its use in the classroom, and its implications for the trajectory of photobook research.

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36

GRANT, KEVIN. "THE BRITISH AND FOREIGN ANTI-SLAVERY SOCIETY - The British and Foreign Anti-Slavery Society, 1838–1956: A History. By James Heartfield. New York, NY: Oxford University Press, 2016. Pp. v + 486. $65.00, hardback (ISBN 9780190491673)." Journal of African History 59, no. 3 (November 2018): 532–34. http://dx.doi.org/10.1017/s0021853718001068.

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37

Kriebel, Sabine. "Manufacturing Discontent: John Heartfield's Mass Medium." New German Critique 36, no. 2 (2009): 53–88. http://dx.doi.org/10.1215/0094033x-2009-002.

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38

Kriebel, Sabine T. "“Nervenaufpeitschende Aufklärung!”: The Melodramatic Satire of John Heartfield's Photomontages." Oxford German Studies 46, no. 1 (January 2, 2017): 92–105. http://dx.doi.org/10.1080/00787191.2017.1282661.

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39

Zervigón, Andrés Mario. "The Peripatetic Viewer at Heartfield's Film und Foto Exhibition Room." October 150 (October 2014): 27–48. http://dx.doi.org/10.1162/octo_a_00199.

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The traveling exhibition Film und Foto, inaugurated in 1929 by the famous German Werkbund association, stands as a critical landmark in the exhibition of modernist photography and film. Yet walking through its inaugural venue, in Stuttgart, was as much like flipping through an instructional photo essay as navigating an exhibition space. The first of the show's thirteen rooms, for example, offered a large number of prints that recapitulated the history of photography, or more specifically the history of its practical use. Displayed on sleek scaffolds that efficiently expanded the available exhibition surface, these prints hung in what may best be described as modernist salon style meets the printed page. A lower register seems strung near thigh level while a second row pushed toward the ceiling. The left-page/right-page and vertical/horizontal dialogues this arrangement afforded encouraged viewers to compare photographs taken from the spheres of science and industry to avant-garde prints inspired by the former. Above this series of exchanges ran a prominent sans-serif caption, a punning query that framed the entire show: “Where is photography's development headed?”

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40

Nishtar, Sania, Asma Badar, Mohammad Umer Kamal, Azhar lqbal, Rashid Bajwa, Tauqeer Shah, Zahid Larik, et al. "The Heartfile Lodhran CVD Prevention Project- end of Project Evaluation." Promotion & Education 14, no. 1 (March 2007): 17–27. http://dx.doi.org/10.1177/175797590701400103.

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41

Cuevas-Wolf, Cristina. "John Heartfield's Thälmann Montages: The Politics behind Images of International Antifascism." New German Critique 44, no. 2 131 (August 2017): 1–24. http://dx.doi.org/10.1215/0094033x-3860177.

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42

Nikolic, Misa. "First as Tragedy, Second as Farce: Heartfield's Photomontages and the Engaged Viewer." New German Critique 44, no. 2 131 (August 2017): 25–40. http://dx.doi.org/10.1215/0094033x-3860189.

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43

Feinmann, J. "Heartfile: using technology to get healthcare funding to poor patients in Pakistan." BMJ 345, aug07 2 (August 7, 2012): e5156-e5156. http://dx.doi.org/10.1136/bmj.e5156.

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44

Zervigón, Andrés Mario. "A “Political Struwwelpeter”? John Heartfield's Early Film Animation and the Crisis of Photographic Representation." New German Critique 36, no. 2 (2009): 5–51. http://dx.doi.org/10.1215/0094033x-2009-001.

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45

Oh, Byung Hee. "A Study on John Heartfield’s Photomontage with Left-wing Political Objectives - focused on works published in the pages of AIZ representing the orthodox left -." Journal of Basic Design & Art 20, no. 1 (February 28, 2019): 263–75. http://dx.doi.org/10.47294/ksbda.20.1.21.

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46

Ollivier, Hendrik. "Tentoonstelling: John Heartfield Fotomontage." Brood & Rozen 1, no. 1 (January 10, 1996). http://dx.doi.org/10.21825/br.v1i1.2253.

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47

Perttula, Timothy. "The Caddo Ceramic Vessels from the Cemetery at 41HS74 on Hatley Creek in the Sabine River Basin, Harrison County, Texas." Index of Texas Archaeology Open Access Grey Literature from the Lone Star State 2017, no. 1 (2017). http://dx.doi.org/10.21112/ita.2017.1.24.

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Site 41HS74 is an ancestral Caddo habitation site and cemetery on Hatley Creek, a southwardflowing tributary to the Sabine River, in the East Texas Pineywoods (Figure 1). The site was investigated in 1986 by Heartfield, Price and Greene, Inc. (1988). The re-analysis of the ceramic vessels recovered from nine burial features at the site are the subject of this article. The vessels are curated at the Texas Archeological Research Laboratory at The University of Texas at Austin (TARL).

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48

Kay, Carolyn. "Art and Politics in Interwar Germany: The Photomontages of John Heartfield." Left History: An Interdisciplinary Journal of Historical Inquiry and Debate 4, no. 2 (September 1, 1996). http://dx.doi.org/10.25071/1913-9632.6982.

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49

"John Heartfield and the agitated image: photography, persuasion, and the rise of avant-garde photomontage." Choice Reviews Online 50, no. 09 (April 17, 2013): 50–4838. http://dx.doi.org/10.5860/choice.50-4838.

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50

"The British and Foreign Anti-Slavery Society, 1838–1956: A History by James Heartfield (review)." Victorian Studies 59, no. 4 (June 2017): 698–700. http://dx.doi.org/10.1353/vic.2017.a680254.

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