Andrés Zervigón Long Publications and Professional Activities


Agitated Images: John Heartfield and German Photomontage, 1920 – 1938. Getty Research Institute, Los Angeles, February 21 – June 25, 2006, and Wolfsonian Museum, Miami Beach, September 20, 2007 – February 10, 2008.

Recent Publications:

"Die anderen Bildamateure. Agitprop, Werbung und Bildmontage unter der Leitung der KPD," in Im harten Licht der Wirklichkeit. Arbeiterfotografie und Kunst um 1930 (Leipzig: Spector-Verlag, 2014).

"César Domela-Nieuwenhuis - Hamburg. Deutschlands Tor zur Welt [Hamburg, Germany's Gateway to the World], c. 1930," in Object: Photo, edited by Mitra Abbaspour, et. al. (New York: Museum of Modern Art, 2014).

"Towards and Itinerant History of Photography: The Case of Lalla Essaydi," in Photography, History, Difference, edited by Tanya Sheehan (Hannover, NH: University Press of New England, 2014).

John Heartfield and the Agitated Image: Photography, Persuasion, and the Rise of Avant-Garde Photomontage (University of Chicago Press, 2012).

"The Wiederaufbau of Perception: German Photography in the Postwar Moment, 1945-1950," appeared in Études Photographiques, Number 29 (2012).

“Postcards to the Front: John Heartfield, George Grosz and the Birth of Avant-Garde Photomontage,” in Postcards: Ephemeral Histories of Modernity, edited by Jordana Mendelson and David Prochaska, Penn State Press, 2010.

"Persuading with the Unseen? Die Arbeiter-Illustrierte-Zeitung, Photography, and German Communism’s Iconophobia.” Visual Resources 26, no. 2 (June 2010), 147-164.

“’ A Political Struwwelpeter?’ John Heartfield’s Early Film Animation and the Crisis of Photographic Representation,” New German Critique, No. 107 (Summer 2009).

“Die Buchumschläge John Heartfields,” essay for the exhibition catalogue John Heartfield: Zeitausschnitte. Fotomontagen 1918-1938, Berlinische Galerie, Berlin (May 28 – August 31, 2009). Catalogue published by the Hatje Cantz Verlag, May 2009.

“A Magnificent Distraction? The Drag Cult for Nazi-era Film Diva Zarah Leander,” Australia New Zealand Art Journal, Vol 6. No. 1 (November 2005), pp. 89-113.

“The Weave of Memory. Siemon Allen’s Screen in Post-
Apartheid South Africa,” Art Journal, Vol. 61, No. 1 (Spring 2002), pp. 68-81.



Participant in "The Photographic Situation," a Partnership Development Grant awarded by the Social Sciences and Humanities Research Council of Canada, August 2011-August 2014.

Co-founded with Art History Department colleague Prof. Tanya Sheehan "The Developing Room: Photography Working Group” at the Center for Cultural Analysis.  Recent symposia convened by The Developing Room include "Photography and Radical Politics" (April 2010), "Global Photography and Its Histories" (February 2011), and "Photography and Its Origins" (April 2012).

Chair with An Paenhysen, "The Unsettled Image: Photography in Germany's Weimar Republic," ICI Berlin, Institute for Cultural Inquiry, January 2011.

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.

Co-convener and Respondent for the symposium 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.

Selected Scholarly Papers:

"The Politics of of Memory and Mimesis in German Photography of the Postwar Moment, 1945-1950," presented at the conference "Cold War Camera," Antigua, Guatemala, Feb. 22, 2014.

"Photography's Weimar-Era Constituency and Walter Benjamin's Optical Unconscious," presented at the workshop "Photography and Walter Benjamin's Optical Unconscious," Toronto, October 26, 2013.

"The Peripatetic Viewer at John Heartfield's Film und Foto Exhibition Room," presented at the symposium "Exhibition as Model," Harvard University, March 8, 2013.  

"The Din of Dada and the Crash of Fluxus," presented at the symposium "Cabaret from Dada to Fluxus" at the Zimmerli Museum, Rutgers University, March 7, 2012.

"Towards a Nomadic History of Photography: The Case of Lalla Essaydi," presented at the Association of Art Historians Conference, Milton Keynes (UK), March 30, 2012.

"'Proletarian Art' and the Avant-Garde after Germany's Revolution," presented at the symposium "Revolution and Representation: Germany, 1917-1923," Rice University, Houston, TX, November 12, 2011.

"Russian Iconophiles and German Iconophobes." Paper delivered at the Workshop “Berlin-Moscow 1913-1933,” Department of the History of Art and Architecture, Harvard University, April 2, 2011.