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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: 15 June 2021

Producing and Displaying Grief

Producing and Displaying Grief

Chapter:
(p.94) (p.95) 4 Producing and Displaying Grief
Source:
Grief
Author(s):

David Shneer

Publisher:
Oxford University Press
DOI:10.1093/oso/9780190923815.003.0005

Under Khrushchev, Baltermants returned to his wartime archive and produced art photographs for exhibition of some of his best work that he had taken during the war for publications. This chapter describes the process by which he produced Grief. This photograph, named for an emotion of the living, became a defining image of the Soviet experience of war. Given the horrors the photograph depicts, Baltermants hoped that it might also be used to position the Soviet Union as the global advocate for world peace. To that end, Baltermants curated his solo exhibitions, first in Moscow and then in London, in which he explored the tension between the commonalities of human experience and the differences in the wartime experience of the Soviet people. The chapter shows how in the 1960s, Baltermants made Grief both a powerful photograph and a useful weapon in Soviet cultural diplomacy during the Cold War.

Keywords:   Cold War, negatives, photographic developing, photographic printing, solo exhibitions, peace movement

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