TY  - CONF
  - Sabine Kriebel
  - Art and the Memory of Revolution, 1789-1939, College Art Association Conference
  - The Revolutionary Future Anterior: John Heartfield¿s 1930s Photomontages
  - Los Angeles, CA USA
  - Invited Lectures (Conference)
  - 2009
  - ()
  - 28-FEB-09
  - 29-FEB-08
  - In this paper, I analyze the rhetoric of temporality and the presence of absence as a radical Left tactic, focusing on John Heartfield¿s mass-circulation photomontages in the Communist Arbeiter Illustrierte Zeitung between 1930-1938, a period of political extremes. Though Heartfield is admired for his witty, antagonistic imagery of the enemy rather than heroic Communist propaganda, critical accounts overlook how these ¿furious lampoons¿ constituted a contribution to revolution.  I examine the complex temporal structures of Heartfield¿s photomontages¿what I call his ¿future anterior,¿ or, the structure of ¿what will have been¿ ¿ in order to elucidate one dimension of his radical activism that proved prophetic. Heartfield¿s photomontages mobilize a culture of fear and its repression, memory and mourning, in a socialist sur-realism rooted in the 1930s social imaginary.  Communist revolution is a spectral presence that dominates by its absence, an implied potential-future, a counterpart to the horror and anomie of capitalism¿s present.
DA  - 2009/NaN
ER  - 

@unpublished{V54605855,
   = {Sabine Kriebel },
   = {Art and the Memory of Revolution, 1789-1939, College Art Association Conference},
   = {{The Revolutionary Future Anterior: John Heartfield¿s 1930s Photomontages}},
   = {Los Angeles, CA USA},
   = {Invited Lectures (Conference)},
   = {2009},
   = {()},
  month = {Feb},
   = {29-FEB-08},
   = {{In this paper, I analyze the rhetoric of temporality and the presence of absence as a radical Left tactic, focusing on John Heartfield¿s mass-circulation photomontages in the Communist Arbeiter Illustrierte Zeitung between 1930-1938, a period of political extremes. Though Heartfield is admired for his witty, antagonistic imagery of the enemy rather than heroic Communist propaganda, critical accounts overlook how these ¿furious lampoons¿ constituted a contribution to revolution.  I examine the complex temporal structures of Heartfield¿s photomontages¿what I call his ¿future anterior,¿ or, the structure of ¿what will have been¿ ¿ in order to elucidate one dimension of his radical activism that proved prophetic. Heartfield¿s photomontages mobilize a culture of fear and its repression, memory and mourning, in a socialist sur-realism rooted in the 1930s social imaginary.  Communist revolution is a spectral presence that dominates by its absence, an implied potential-future, a counterpart to the horror and anomie of capitalism¿s present.}},
  source = {IRIS}
}