Cristina Cuevas-Wolf has focused her research on John Heartfield and Worker Photography from the 1930s to the aftermath of this movement in the postwar period. Currently, she interrelates her interest in Heartfield and Hungarian documentary practices in her research about dissent in postwar east Central Europe. Having held positions at the Los Angeles County Museum of Art (LACMA) and at The Wende Museum of the Cold War, and Visiting Scholar at the Max Kade Institute for Austrian-German-Swiss Studies/University of Southern California (USC), she is now a scholar and curator based in Los Angeles.
Documentary practices engage with the everyday to frame new ways of seeing our prosaic experiences. A sequence of images usually focuses on a specific topic. Instead this series of images explores different ways of seeing the everyday, making us aware of the varied aspects of life in the process.. A direct or elevated view instructs us to see what is embedded in our routines of work and leisure: from our own spectatorship and participation in the day’s activities to the lightening speed of travel and being in a calm place. An image within an image re/frames a child’s stance as a playful exchange with the photographer through a transparent bus stop enclosure. While a close up draws us in on a quiet moment of rough sleeping, arrested motion captures the moment a falcon takes flight. Experimental interventions in the medium reveal how humans have constructed a world, giving it surreal qualities, or use the photograph’s objectivity to translate the traces of mistreated land into fact — digital data. The dissolving Antarctic glaciers as a photographic object, “dragged and dropped” into a concrete and brick urban setting, connect and combine different perspectives on our global existence.
Photo: © Private | Cristina Cuevas-Wolf, taken on June 9, 2020
Would you like to be kept up to date with our Guest Curators? Join our Newsletter below.