This is a handy manual of the genre, designed to celebrate the current revival of political photomontage, by comparing it with its august origins in pre-war Germany. There is a brief art-historical monograph, but the bulk of the argument, like the book, is made up of pictures, selected on rather tendentious principles. The plates are divided into two sections: the first given wholly to the work of John Heartfield, the second to various contemporary European montage-makers, largely featuring the work of the German Klaus Staeck, and our own Peter Kennard.
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'Sabotage became so prevalent that bankers even created their own terms – ‘asymmetric information’, ‘lack of financial literacy’, ‘the principal-agent dilemma’ – to describe how they might turn a dime from customers’ gullibility or ignorance.'
'Unlike much that was extracted from India, these paintings were not plunder, and those who created them were properly remunerated and often received due credit.'
@PParkerWriting on 'Forgotten Masters: Indian Painting for the East India Company'.
‘"I feel", Lowell told Hardwick ... "as if I were pulled apart and thinning into mist, or rather being torn apart and still preferring that state to making a decision."'
Richard Davenport-Hines on the letters of Robert Lowell and Elizabeth Hardwick.