Andrés Mario Zervigón
Biographic Data
| ID | 286419 |
|---|---|
| NAME | Andrés Mario Zervigón |
| GIVEN NAMES | Andrés Mario |
| FAMILY NAME | Zervigón |
| SIGNATURE | ZERVIGÓN A M |
| AFFILIATIONS | Rutgers, the State University of New Jersey |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Visible Yet Transparent: The Lens in Nineteenth-Century Photographic Cultures
In 1890, the famous Jena Glass Works of Carl Zeiss released the Anastigmat photographic lens to great fanfare. The nearly faultless realism it generated seemed to conclude a chapter in optical technology that had progressed in a predetermined manner since photography’s origins. But why exactly had Zeiss developed its expensive mechanism, and what drove photographers to buy it? This article proposes that the consistent focus and varied depth of fi…
Forum: Visual Studies—The Art Historians’ View
TEST 02 - Elsevier's Scopus, the largest abstract and citation database of peer-reviewed literature. Search and access research from the science, technology, medicine, social sciences and arts and humanities fields
Is Photomontage Over? A Special Issue of History of Photography
The Photomontage Activity of Postmodernism
For decades now, Douglas Crimp’s landmark 1980 essay ‘The Photographic Activity of Postmodernism’ has shaped our understanding of modernism’s aftermath, at least as it unfolded in North America and Western Europe. Less remembered, however, is the degree to which the procedures of disjunction, copying, appropriation, and outright theft that he highlighted were epitomised not just by contemporary photography, but by photomontage in particular. This…
The Peripatetic Viewer at Heartfield's Film und Foto Exhibition Room
The traveling exhibition Film und Foto, inaugurated in 1929 by the famous German Werkbund association, stands as a critical landmark in the exhibition of modernist photography and film. Yet walking through its inaugural venue, in Stuttgart, was as much like flipping through an instructional photo essay as navigating an exhibition space. The first of the show's thirteen rooms, for example, offered a large number of prints that recapitulated the hi…
A "Political Struwwelpeter"? John Heartfield's Early Film Animation and the Crisis of Photographic Representation
I offer my deepest thanks to Maria Gough for her close and perceptive reading of this essay's first draft. This completed version would not have been possible without her patient attention. I also thank Andreas Huyssen for his exceedingly helpful comments and Jeanpaul Goergen for his counsel at this project's early stages. Elizabeth Mannsfield, Jeanne Nugent, and Aileen Tsui also provided valuable insights and reflections
Heartfield, John
A "Political Struwwelpeter"? John Heartfield's Early Film Animation and the Crisis of Photographic Representation
I offer my deepest thanks to Maria Gough for her close and perceptive reading of this essay's first draft. This completed version would not have been possible without her patient attention. I also thank Andreas Huyssen for his exceedingly helpful comments and Jeanpaul Goergen for his counsel at this project's early stages. Elizabeth Mannsfield, Jeanne Nugent, and Aileen Tsui also provided valuable insights and reflections
Heartfield, John
A "Political Struwwelpeter"? John Heartfield's Early Film Animation and the Crisis of Photographic Representation
I offer my deepest thanks to Maria Gough for her close and perceptive reading of this essay's first draft. This completed version would not have been possible without her patient attention. I also thank Andreas Huyssen for his exceedingly helpful comments and Jeanpaul Goergen for his counsel at this project's early stages. Elizabeth Mannsfield, Jeanne Nugent, and Aileen Tsui also provided valuable insights and reflections
The Peripatetic Viewer at Heartfield's Film und Foto Exhibition Room
The traveling exhibition Film und Foto, inaugurated in 1929 by the famous German Werkbund association, stands as a critical landmark in the exhibition of modernist photography and film. Yet walking through its inaugural venue, in Stuttgart, was as much like flipping through an instructional photo essay as navigating an exhibition space. The first of the show's thirteen rooms, for example, offered a large number of prints that recapitulated the hi…
Forum: Visual Studies—The Art Historians’ View
TEST 02 - Elsevier's Scopus, the largest abstract and citation database of peer-reviewed literature. Search and access research from the science, technology, medicine, social sciences and arts and humanities fields
Is Photomontage Over? A Special Issue of History of Photography
The Photomontage Activity of Postmodernism
For decades now, Douglas Crimp’s landmark 1980 essay ‘The Photographic Activity of Postmodernism’ has shaped our understanding of modernism’s aftermath, at least as it unfolded in North America and Western Europe. Less remembered, however, is the degree to which the procedures of disjunction, copying, appropriation, and outright theft that he highlighted were epitomised not just by contemporary photography, but by photomontage in particular. This…
Visible Yet Transparent: The Lens in Nineteenth-Century Photographic Cultures
In 1890, the famous Jena Glass Works of Carl Zeiss released the Anastigmat photographic lens to great fanfare. The nearly faultless realism it generated seemed to conclude a chapter in optical technology that had progressed in a predetermined manner since photography’s origins. But why exactly had Zeiss developed its expensive mechanism, and what drove photographers to buy it? This article proposes that the consistent focus and varied depth of fi…
Art (6 works) · Photography and Visual Culture (6 works) · Visual arts (6 works) · Art history (5 works) · Photography (4 works) · Visual Culture and Art Theory (4 works) · History (3 works) · Literature (3 works) · Aesthetics (2 works) · Law (2 works)