CURATOR’S NOTE:The email above I received from Cressida is one of my most favorite. One of the reasons I built The Official John Heartfield Exhibition is to remind people the past always informs the future. To hear from a young person that my grandfather’s work has helped her understand this fact is so inspiring. If you believe more of grandfather’s art should be made easily available to the public, please . Your opinion will make a difference.
CURATOR’S NOTE: It’s my life’s work to have my grandfather’s famous photomontage art, as well as his groundbreaking influential graphic design, on public view. His powerful visual statements opposing fascism, bigotry, ignorance, and oppression are especially relevant at this critical time in world politics. Unfortunately, almost all of my grandfather’s art is stored inside in a vast archive in Germany. If you believe my grandfather’s art should be made available to the public, please WRITE TO ME. Your opinion will make a difference.
[…] hände aus den taschen, kurz gebiss’ne nägel zählen, denn fünf finger hat die hand […]
anderland 14 | schwungkunst.blog
[…] Maria Martinez use of fragmented forms and images, has provoked comparisons to photomontages by the likes of John Heartfield and Alexander Rodchenko. The fragments revisit and reference her deep knowledge of art history, […]
María Martínez-Cañas Exhibit Reveals Shocking New Realm | Hamptons Art HubHamptons Art Hub
[…] John Heartfield was a German Dada pioneer, groundbreaking Graphic Designer and anti-fascist collage artist. He worked in the regime of the Nazis in a time when Hitler was his contemporary. In his work he attacked the fascism of the party with his imagination, scissors, glue and a stack of magazines, very much in the style of a Dadaist, whilst constantly being under threat of assassination by the Hitler’s Third Reich. Heartfield even went so far as to make his own name a political statement, being born as Helmut Franz Josef Herzfeld but changing it to John Heartfield to counteract the anti-British attitude of early 20th century Germany. His most famous works include a montage of Hitler turning his financial support into political lies appeared on Berlin newsstands in 1932. It was called ‘Adolf Der Übermensch: Schluckt Gold und redet Blech’ (Adolf The Superman: Swallows Gold and spouts Junk). Another example of his open criticism of the Nazis is the famous AIZ (a German illustrated magazine published between 1924 and March 1933 in Berlin) cover that exposed Hermann Goering as The Third Reich’s executioner and the Reichstag fire as the work of the Nazi Party called ‘Göring: Der Henker des Dritten Reichs’ (Goering: The Executioner of the Third Reich). I find this artist endlessly fascinating, take, for example the fact that he escaped assassination in his own home on the 4th of April 1933 when the Nazis stormed his house, forcing him to escape from his French windows and fall into a rubbish bin. He used the Nazi’s own images against them and was in my opinion one of the bravest and most important artists of all time. […]Laughing at Hitler- an artist’s favourite pastime. – Art
[…] By Emily Witt, Staff Writer Graphic by John Heartfield […]Strangled by the Loop of History | The Grappler
[…] Gespräch im Berliner Zoo (Conversation In The Berlin Zoo) […]Wait, what..? | Force Of Seeing
[…] John Heartfield Art From Dada To His Famous Anti-Fascist Photomontages. [online] Available at: https://www.johnheartfield.com/John-Heartfield-Exhibition/john-heartfield-art [Accessed 19 Nov. […]Dadaism – Melvin Magro
[…] German Dada Art & Berlin Dada Artists – 20th Century Art […]John Heartfield – Open Data
[…] Información sobre John Heartfield […]El fotomontaje | Libreta de apuntes
[…] Westminster Saying ( after Berlin Dadaist John Heartfield ) c. Michael St. Mark […]Work No 765: A Westminster Saying ( after John Heartfield) | LONDON DADA
[…]Slightly disappointed not more Otto Dix (though; this work is great), but taken with the work of John Heartfield (about whom I knew nothing prior to this exhibit) and pleased to see some of George Grosz’s […] CURATOR RESPONDS: I agree. This site keeps growing. I will add material about Otto Dix. Achtung, baby | AbsurdBeats
[…] His career began in 1968, a year of revolt against the status quo with the ‘hippie’ movement. Originally focusing on painting, Kannard abandoned it as he sought a new form of expression which would have a large sociological and political impact – which he found in photomontage. His efforts restored the medium from previous associations of radical politics, such as Dadaism and the anti-Nazi John Heartfield […]Imperial War Museum: Peter Kannard – Unofficial War Artist | Oliver Leak