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used the same techniques but had a different line of outcome
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Wednesday 7 October 2015
propaganda in the art industry
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Monday 5 October 2015
John Heartfield
photomontage and dada.
anti Nazi photomontage
How the photomontage art of John Heartfield, a contemporary and friend of Brecht, warned the world of the rise of Nazism.
In the 1930s the Nazis were gaining ground in Europe. Many chose to ignore or had a Laissez faire attitude to the national socialist policy of expansionism, known as Lebensraum or the threat of war that Germany now posed to the world. John Heartfield ( above, doing Hitler's hair), A German citizen born Helmut Herzfeld, was one who chose to criticize the regime through art. He produced a remarkable series of photomontages (decades before Photoshop ) The audacity of which can still astonish today.
Blood and Iron
Bismarck had stated that the German people would be reformed through a combination of blood and iron. Heartfield's 1939 photomontage shows exactly how this was to be interpreted in reality. Heartfield had always been a reactionary when it came to German Nationalism. Born 1891 as Helmut Herzfeld he saw the true horrors of the first world war first hand. Although propaganda was rife and rabid on both sides he made the extraordinary move of anglicising his name in 1916, in the middle of the war, to protest against such nationalism.
Hitler prepares to kill the French cockerel
Although some of his work may seem a little primitive in them days of Photoshop, the meaning of Heartfields 1939 work is as sharp as the knife that the dictator is holding. The caption jokes ironically around Hitler's vegetarianism, The French Foreign Minister is seen to be unperturbed at the sharpening of knifes. After all Hitler did not eat meat. Of course by this time Heartfield had to remove himself from Germany (in fact at the beginning of the Nazi Regime) as his sort of political satire would no doubt have earned him a visit in the night and a trip to a concentration camp. He left Germany in 1933, the year Hitler came to power and relocated to nearby Czechoslovakia. Perhaps a little too close for comfort.
Kaiser Adolf
The real motive for Hitler's stranglehold on political power in the thirties was something that was utterly transparent to Heartfield, Here he gives Hitler the emperor's old clothes and upturned moustache to reveal that power had simply changed hands and nothing had changed in democratic terms. As left wings socialist. Heartfield was diametrically opposed to the extreme right wing nationalism (Nazism) that swept Germany.(Although it borrowed policies from both left and right wing). It was after founding a satirical magazine, Die Pleite, that he met Brecht. Later he would work for the weekly A/Z (published in exile, of course, this sort of thing would never have been allowed inside the Fatherland). It was A/Z that he produced most of his photomontage work.
The butter is gone
As the caption on the card says, this is bitterly satirical and based on the words of Goring in 1935. Hermann Goring. One of the potentates of Nazi Germany, said during a food shortage that Iron has always made a nation strong, butter and lard have only made the people fat. If one of the politicians were to say that today there would probably be a riot but satire like this was one of the few ways to injure the regime. possibly Heartfields most famous work. this family attempts to eat the various weapons fo war that have been built instead of the butter that should have been on their table. The swastika wallpaper in the background is a particularly deft touch and shows how the regime permeated all aspects of even domestic life.
The German oak tree
The oak tree is watered by the environmentally aware Hitler. However, what it produces is shells and iron helmets marked with swastikas. As potent an image about how the ideals of a nation will become perverted from the top politically, the oak tree is Germany- watered instead from the bottom. This was produced in 1939 by which time Heartfield had felt it necessary to retreat from his adopted host nation of Czechoslovakia. Soon after, he made it to England and lived in Hampstead, London, for the duration of the war.
Fathers and Sons, 1924 gelatin silver print of photomontage. Akademie der Künste, Berlin, Kunstsammlung
The Middle Ages and the Third Reich
With reference to the medieval torture instrument, the wheel, Heartfeild skilfully adapts the swastika (itself an image accosted and misused by the Nazis) to the picture what was happening to the German people under the "guidance "of Adolf Hitler and his cronies. some might say that this image of suffering is somewhat generous to the German people. portraying them as the victims of Nazism but once Hitler had secured absolute power for himself and with no way of democratically or governmentally relieving him of his position ( as was the case with Mussolini in Italy) then victims is exactly what they were.
Manifesto
The manifesto, entitled "La cause était entendue" (The Case Was Settled) was written by CoBrA member Christian Dotremont and signed by all founding members in Paris in 1948. It was directly speaking to their experience attending the Centre International de Documentation sur l’Art d’Avant-garde in which they felt the atmosphere was sterile and authoritarian. It was a statement of working collaboratively in an organic mode of experimentation in order to develop their work separate from the current place of the avant-garde movement. The name of the manifesto was also a play on words from an earlier document signed by Belgian and French Revolutionary Surrealists in July 1947, entitled "La cause est entendue" (The Case Was Settled).
COBRA
Cobra was a European Avant-garde movement active from 1948 to 1951. During the time of occupation of world war 2, The netherlands had been disconnected from the art world beyond its borders. COBRA was formed shortly thereafter. This international movement of artists who worked experimentally evolved from the criticism of western society and a common desire to break away from existing art movements, including detested naturalism and sterile abstraction. Experimentation was the symbol of an unfettered freedom. Which, according to constant, was ultimately embodied by children and the expressions of children. COBRA was formed by Karel Appel, Constant, Corneille, Christian Dotremont, Asger Jorn , and Joesph Noiret on november 8th 1948 in the cafe Notre-Dam. paris with the signing of a manifesto. "La cause etait entendue (The case was settled). Drawn up by Dotremont, Formed with a unifying doctrine of complete freedom of color and form, as well as modernism.
Their working method was based on spontaneity and experiment, and they drew their inspiration in particular from children's drawings, from primitive art forms an from the work of Paul Klee and Joan Miro.
Coming together as an amalgamation of the Dutch group Host and the Belgian revolutionary surrealist group. The group only lasted a few years bur managed to achieve a number of objectives in that time: the periodical COBRA, a series of collaboration between various members called Peintures-Mot and two large-scale exhibitions. The first of these was held at the Stedelijk Museum in Amsterdam. November 1949, the other at the Palas des Beaux - Arts in Leige in 1951.
Their working method was based on spontaneity and experiment, and they drew their inspiration in particular from children's drawings, from primitive art forms an from the work of Paul Klee and Joan Miro.
Coming together as an amalgamation of the Dutch group Host and the Belgian revolutionary surrealist group. The group only lasted a few years bur managed to achieve a number of objectives in that time: the periodical COBRA, a series of collaboration between various members called Peintures-Mot and two large-scale exhibitions. The first of these was held at the Stedelijk Museum in Amsterdam. November 1949, the other at the Palas des Beaux - Arts in Leige in 1951.
In November 1949 the group officially changed its name to Internationale des Artistes Expérimentaux with membership having spread across Europe and the USA, although this name has never stuck. The movement was officially disbanded in 1951, but many of its members remained close, with Dotremont in particular continuing collaborations with many of the leading members of the group. The primary focus of the group consisted of semi-abstract paintings with brilliant color, violent brushwork, and distorted human figures inspired by primitive and folk art and similar to American action painting . Cobra was a milestone in the development of Tachisme and European abstract expressionism.
Cobra was perhaps the last avant-garde movement of the twentieth century.[6] According to Nathalie Aubert the group only lasted officially for three years (1948 to 1951). After that period each artist in the group developed their own individual paths.
Dada collage and text
Hannah Hoch
Is known for producing political collage and photomontage, She appropriated and rearranged images and text from the media to critique the failings of the Weimar German Government. She drew inspiration from the collage work of Pablo Picasso and Kurt Schwitters and her own compositions share with those artists a similarly dynamic and layered style. Hannah preferred metaphoric imagery to the more direct, text-based confrontational approach of her contemporary John Heartfield, whose work she found “tendentious.” She rejected the German government, but often focused her criticism more narrowly on gender issues, and is recognized as a pioneering feminist artist for works such as Das schöne Mädchen (The Beautiful Girl), (1920), an evocative visual reaction to the birth of industrial advertising and ideals of beauty it furthered. Höch was, for a period of time, the partner of Dada artist Raoul Haussman
Exquisite Corpse is a method for collaboratively creating an art work. One person in a group gets it started, and then hands it off to any number of other people or groups in sequence, who can add to it or modify it however they see fit. A key twist is that most of the prior work is hidden from the group currently working on it , the current group only has part of the existing thing to build from. This can lead to hilarious drawings of grotesque bodies with hands coming out of necks, for example, hence the name exquisite corpse.
In Marxist philosophy the Bourgeoisie is the social class who owns the means of production and whose societal concerns are the value of property and the preservation of capital, to ensure the perpetuation of their economic supremacy in society.
The avant-garde are people or works that are experimental ar innovative, particularly with respect to art, culture, and politics.
The avant-garde pushes the boundaries of what is accepted as the norm or the status quo. Primarily in the cultural realm. The avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism. Many artists have aligned themselves with the avant-garde movement and still continue to do so, tracing a history from Dada through the situationists to postmodern artists such as the language poets around 1981.
The avant-garde also promotes radical social reforms. It was this meaning that was evoked by the saint Simonian Olinde Rodrigues in his essay "L'artiste, le savant et l'industriel" ("The artist, the scientist and the industrialist", 1825). Which contains the first recorded use of avant-garde in its now customary sense:there, Rodrigues calls on artist to "serve as [the people,s] avant-garde". Insisting that the power of the arts is needed the most immediate and fastest way to social, political and economic reform.
Juxtaposition is a literary technique in which two or more ideas, places, characters and their actions are placed side by side in a narrative or a poem for the purpose of developing comparisons and contrasts.
In literature, Juxtaposition is a useful device for writers to portray their characters in great detail to create suspense and achieve a rhetorical effect. It is human quality to comprehend one thing easily by comparing it to another. Therefore, a writer can make readers sense "goodness" in a particular character by placing him or her side by side to a character that is predominantly evil. Consequently. goodness in one character is highlighted by evil in the other character. Juxtaposition in this case is useful in the development of characters.
Rrose Selavy was one of the pseudonyms of artist Marcel Duchamp. The name. A pun, sounds like the French phrase "Eros, C'est La Vie", which translatesto english as "Eros, thats life. It has also been read as "arroser La Vie" (to make a toast to life").
Selavy emerged in 1921 in a series of photographs by Man Ray of Duchamp dressed as a woman. Through the 1920s , Man Ray and Duchamp collaborated on more photos of selavy. Duchamp later used the name as the byline on written material and signed several creations with it.
Is known for producing political collage and photomontage, She appropriated and rearranged images and text from the media to critique the failings of the Weimar German Government. She drew inspiration from the collage work of Pablo Picasso and Kurt Schwitters and her own compositions share with those artists a similarly dynamic and layered style. Hannah preferred metaphoric imagery to the more direct, text-based confrontational approach of her contemporary John Heartfield, whose work she found “tendentious.” She rejected the German government, but often focused her criticism more narrowly on gender issues, and is recognized as a pioneering feminist artist for works such as Das schöne Mädchen (The Beautiful Girl), (1920), an evocative visual reaction to the birth of industrial advertising and ideals of beauty it furthered. Höch was, for a period of time, the partner of Dada artist Raoul Haussman
Exquisite Corpse is a method for collaboratively creating an art work. One person in a group gets it started, and then hands it off to any number of other people or groups in sequence, who can add to it or modify it however they see fit. A key twist is that most of the prior work is hidden from the group currently working on it , the current group only has part of the existing thing to build from. This can lead to hilarious drawings of grotesque bodies with hands coming out of necks, for example, hence the name exquisite corpse.
In Marxist philosophy the Bourgeoisie is the social class who owns the means of production and whose societal concerns are the value of property and the preservation of capital, to ensure the perpetuation of their economic supremacy in society.
The avant-garde are people or works that are experimental ar innovative, particularly with respect to art, culture, and politics.
The avant-garde pushes the boundaries of what is accepted as the norm or the status quo. Primarily in the cultural realm. The avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism. Many artists have aligned themselves with the avant-garde movement and still continue to do so, tracing a history from Dada through the situationists to postmodern artists such as the language poets around 1981.
The avant-garde also promotes radical social reforms. It was this meaning that was evoked by the saint Simonian Olinde Rodrigues in his essay "L'artiste, le savant et l'industriel" ("The artist, the scientist and the industrialist", 1825). Which contains the first recorded use of avant-garde in its now customary sense:there, Rodrigues calls on artist to "serve as [the people,s] avant-garde". Insisting that the power of the arts is needed the most immediate and fastest way to social, political and economic reform.
Juxtaposition is a literary technique in which two or more ideas, places, characters and their actions are placed side by side in a narrative or a poem for the purpose of developing comparisons and contrasts.
In literature, Juxtaposition is a useful device for writers to portray their characters in great detail to create suspense and achieve a rhetorical effect. It is human quality to comprehend one thing easily by comparing it to another. Therefore, a writer can make readers sense "goodness" in a particular character by placing him or her side by side to a character that is predominantly evil. Consequently. goodness in one character is highlighted by evil in the other character. Juxtaposition in this case is useful in the development of characters.
Rrose Selavy was one of the pseudonyms of artist Marcel Duchamp. The name. A pun, sounds like the French phrase "Eros, C'est La Vie", which translatesto english as "Eros, thats life. It has also been read as "arroser La Vie" (to make a toast to life").
Selavy emerged in 1921 in a series of photographs by Man Ray of Duchamp dressed as a woman. Through the 1920s , Man Ray and Duchamp collaborated on more photos of selavy. Duchamp later used the name as the byline on written material and signed several creations with it.
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