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GriefThe Biography of a Holocaust Photograph$
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David Shneer

Print publication date: 2020

Print ISBN-13: 9780190923815

Published to Oxford Scholarship Online: April 2020

DOI: 10.1093/oso/9780190923815.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 16 September 2021

The Aftermath of GRIEF

The Aftermath of GRIEF

Chapter:
(p.61) 3 The Aftermath of GRIEF
Source:
Grief
Author(s):

David Shneer

Publisher:
Oxford University Press
DOI:10.1093/oso/9780190923815.003.0004

This chapter is engaged with photography’s fundamental challenge: it is both documentary evidence, in which the camera is a tool of a technician, and a work of art, in which the click of the shutter is but one step on the road to creating an art photograph. It opens with Baltermants’s soaring career with Izvestiia until June 1942, when he was fired for mislabeling a photograph of a blown-up tank and was sent to a penal battalion that fought at Stalingrad. The experience nearly cost him his life. After the victory by the Allies, photographs were used as evidence in war crimes trials, including Baltermants’s. At the end of the war, he returned to photographic preeminence. After Stalin’s death, he became a leading documenter of global Soviet power under Nikita Khrushchev. He took pictures in Vietnam, India, and China, and his work appeared in domestic and international art exhibitions.

Keywords:   Stalingrad, war crimes trials, evidence, cultural diplomacy, exhibitions, art photography

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