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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'The identification of a mighty force sparkling intermittently seems to me to constitute the finest and most consistent poetic achievement of Goudie’s book.'
Candia McWilliam on @lachlangoudie's 'The Story of Scottish Art'.
Though 'the hotel had a reputation as the area’s best, its staff were not used to looking after world leaders, so the arrival of Cuba’s new strongman, Fidel Castro, came as something of a shock.'
@dcsandbrook on @simonhallwriter's 'Ten Days in Harlem'.
'After all, who knows what anybody is really like, or what they really think? The biographer – same as a painter of portraits – cannot help but reproduce himself to some degree.'
From the archive: Beryl Bainbridge talks to Sebastian Shakespeare.