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Andrés Mario Zervigón
Assistant Professor
History of Photography
Ph.D, Harvard University, 2000
Biographical Information:
Professor Zervigón received his doctorate in art history from Harvard
University in 2000. He specializes in the history of photography and concentrates
his scholarship on the interaction between photographs, film and traditional
images. His work generally focuses upon moments in history when these media prove
inadequate to their task of representing the visual. Zervigón recently
guest-curated an exhibition of the work of German photomontage artist John Heartfield
at the Getty Research Institute in Los Angeles (February - June, 2006). He is
also completing a book on Heartfield that will cover the artist’s career
in the years 1914-1929. His other projects include a history of Weimar-era German
photography and the editing of the translation of Sergei Tret’iakov’s
1936 book John Heartfield. A Monograph. His essay “Postcards to the Front:
John Heartfield, George Grosz and the Birth of Avant-Garde Photomontage,” will
appear in the anthology Postcards: Ephemeral Histories of Modernity in 2007 (Penn
State Press), and his article “A Magnificent Distraction? The Drag Cult
for Nazi-era Film Diva Zarah Leander,” was recently published in the Australian & New
Zealand Journal of Art, Volume 6, Number 1, 2005.
 Exhibitions:
Agitated Images: John Heartfield and German Photomontage, 1920 – 1938.
Getty Research Institute, Los Angeles. February – June 2006.
Recent Publications:
“A Magnificent Distraction? The Drag Cult for Nazi-era
Film
Diva Zarah Leander,” Australian & New Zealand Journal of Art,
Volume 6, Number 1, 2005.
Articles:
“The Weave of Memory. Siemon Allen’s Screen in Post-Apartheid
South Africa,” Art Journal, pp. 68-81. Spring 2002
“Weimar Surfaces,” [book review] Art Journal, pp. 112-114 Winter
2002
“Anselm Kiefer,” [book review] Art Journal, pp. 103-106. Fall
1999
“Remaking Bacon,” [book review] Art Journal, pp. 87-93. Summer
1995
Upcoming Publications:
The Unsettled Image: John Heartfield, Photomontage and the German Avant-Garde,
1917-1929.
“Postcards to the Front: John Heartfield, George Grosz and ?the Birth
of Avant-Garde Photomontage,” in Postcards: Ephemeral Histories of
Modernity.
Penn State Press, 2007.
Editor: John Heartfield. A Monograph and “Johnny.” Sergei
Tret’iakov,
1936.
Activities:
Chair with Dr. Stephen Pinson (New York Public Library) of the session “Subject:
Photography,” 2007 College Art Association Conference, New York.
Co-convener of the symposium Detours of Technology: Insights into the
Hungarian and Weimar German Oeuvres of László Moholy-Nagy, The Jane Voorhees
Zimmerli Art Museum, October 28, 2006.
Organizing Committee and Respondent for the symposium Radical Politics/Radical
Aesthetics (called in conjunction with the exhibition Agitated Images:
John Heartfield and German Photomontage, 1920-1938) Getty Research Institute, May
4, 2006.
Lectures:
“A New Way of Seeing or Blinded by Science? Laszlo-Moholy Nagy, John
Heartfield and the Battle over Weimar-Era Photography,” Detours of
Technology: Insights into the Hungarian and Weimar German Oeuvres of László Moholy-Nagy,
The Jane Voorhees Zimmerli Art Museum, October 28, 2006.
“The Multi-Sensorial Unconscious? Walter Benjamin, John Heartfield and
an Inverted History of Mass Media,” Das Jetzt der Erkennbarkeit.
Orte Walter Benjamins in Kultur, Kunst und Wissenschaft, Zentrum für Literaturforschung
and Archiv der Akademie der Künste, Berlin, Germany, October 18, 2006.
“Struck by a Bullet!” Fashioning the Haptic and the Offensive
in John Heartfield’s and Kurt Tucholsky’s Deutschland, Deutschland über
alles,” Eye-Cons. Illusions in Word and Image (sponsored by the Scottish
Word and Image Group), University of Dundee, Dundee, Scotland, May 13, 2006.
“Photographing the Authentically Ugly Heimat. Erna Lendvai-Dircksen
and the Face of the German Race,” offered as “Special Presentation” at
the conference Heimat: Utopia or Reality? Interdisciplinary Approaches
to the Search for Heimat and National Identity, Department of Germanic Literatures,
Rutgers University, March 4, 2006.
“John Heartfield, Early German Cinema and the [Visceral] Fantasies of
Photomontage,” presented in the session Film and Art, College Art Association
Conference, Atlanta, Georgia, February, 2005.
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