科研之友
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摘要
The article analyses the photomontage production of German-Argentine photographer Grete Stern, exploring the continuities and reconfigurations of both formal concerns and socio-political valences between her formative years in Berlin and her work in Buenos Aires, especially with regard to the visual deconstruction of dominant perceptions of femininity and the (female) body in relation to a modernizing culture. The comparative analysis aims at disarticulating a derivative or causal relationship between her Bauhaus roots and her ground-breaking Argentine production, as well as connecting them through a focus on processes of social and aesthetic migration. The article's claim is that by introducing photographic photomontage in the popular female press in late 1940s and early 1950s, Stern's Suenos series not only helped establish a working and middle-class female audience for photographic modernism, but also trained her readers in the visual language of modern culture.
- 出版日期2015-4-3
- 单位西北大学
