"Revolutionary Beauty" offers the first sustained study of the
German artist John Heartfield's groundbreaking political
photomontages, published in the left-wing weekly "Arbeiter
Illustrierte Zeitung""(AIZ)" during the 1930s. Sabine T. Kriebel
foregrounds the critical artistic practices with which Heartfield
directly confronted the turbulent, ideologically charged currents
of interwar Europe, exposing the cultural politics of the crucial
historical moment that witnessed the consolidation of National
Socialism. In this period of radicalization and mass mobilization,
the medium of photomontage--the cut-and-paste assemblage of
photograph and text--offered a way to deconstruct the visual world
and galvanize beholders on a mass scale.
Kriebel transforms our understandings of montage as a
quintessentially modern practice. Central to that
reconceptualization is suture, a concept integral to film theory
but recruited in this book to explore the psychic operations of
Heartfield's seamlessly welded "AIZ" photomontages. "Revolutionary
Beauty" proposes that the language of sutured illusionism
constitutes one of the most important and overlooked critiques of
modern media, wherein a radical reassessment "resides in "suture.
Scholars of photography, modern and contemporary art history, media
studies, and European history will doubtlessly embrace this
book.
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