Christian Joschke  Visiting Research Scholar

Christian Joschke_3712_final@0,5x

Christian Joschke

Visiting Research ScholarPhotography


Ph.D. École des Hautes Études en Sciences Sociales, 2005

After his studies in Art History and German culture, Christian Joschke completed his Ph.D. at the École des Hautes Études en Sciences Sociales (2005). In 2003, he worked as a research assistant at the Collège de France with Prof. Hans Belting, and then as a teaching assistant at the University of Strasbourg. In 2007, Christian Joschke took a position as Assistant Professor (maître de conférences) at the University of Lyon 2, before moving in 2012 to the Department of Art and Archaeology of the University Paris-Nanterre. During this period, he was the grateful recipient of several fellowships: at the Centre Marc Bloch (Berlin, 2006), at the Institut National d'Histoire de l'Art (Paris, 2009), at the Internationales Forschungsinstitut Kulturwissenschaften (Vienna, 2012) and the Ryerson Image Center (Toronto). In 2009-2010, and again in 2016-17, he was invited Professor at the University of Lausanne (Switzerland), substituting for prof. Olivier Lugon. Over the past three years, he has worked on a collaborative research project with the Centre Pompidou in Paris, focusing on social and documentary photography in the 1930s, and culminating in an exhibition that opened November 5, 2018.

His publications include: Les yeux de la nation. Photographie amateur dans l'Allemagne de Guillaume II, published by Les presses du réel in 2013; La Guerre 14 - 18, published by Photopoche in 2014; and the exhibition catalogue (with Damarice Amao and Florian Ebner) Photographie, arme de classe. Photographie sociale et documentaire en France 1928-1936 (Paris, Centre Pompidou – Textuel, 2018). With prof. Olivier Lugon, he is chief editor of the journal Transbordeur. Photographie histoire société.

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Current Research

His current research concerns the worker photography movement in Germany and France. This project is aimed at showing to what extent the construction of a Left-Wing visual culture included the participation of working class amateur photographers and relied on modern modes for the dissemination of images. The purpose of this movement was to politicize photography, an activity long associated with the leisure class, and champion social reportage rather than landscape photography, in order to produce visual documents of working-class life seen from the inside. Revealing the hidden, daily struggles of the working class, this movement aimed to provide new visual material for the magazines such as AIZ, Sovetskoe Foto or Regards. Between 1926 and 1933, the movement’s founder and leader, Willi Münzenberg, managed to bring together more than 50 associations in Germany and to federate the movement in other countries like the Soviet Union, Czechoslovakia, Hungary, France, Great Britain and the United States.

Selected Publications


Les yeux de la Nation. Photographie amateur et société dans l’Allemagne de Guillaume II (1888-1914) [The Eyes of the Nation. Amateur Photography and Society in the Wihelmine Germany (1888-1914)] (Dijon: Presses du réel, 2013), 435 pages.

Edited Books

Photographie, arme de classe. Photographie sociale et documentaire en France, 1928-1936, ed. Damarice Amao, Florian Ebner and Christian Joschke, (exhibition catalog at the Centre Pompidou, November 5, 2018 – February 4, 2019, Centre Pompidou – Textuel, 2018), 308 pages.

Faire œuvre comme on fait société [Making art work], ed. Didier Debaise, Xavier Douroux, Christian Joschke, Anne Pontégnie et Katrin Solhdju (Dijon: Presses du réel, 2013), 813 pages.

Articles in Refereed Journals

“L’histoire de la photographie sociale et documentaire dans l’entre-deux-guerres. Paris dans le contexte transnational” [“The History of Social Documentary Photography in the Interwar Period. Paris within the International Context”], Perspective. Revue de l'Institut national d'histoire de l'art, 1 (2017), 127-142.

“Le marché transnational des images politiques. Le Secours ouvrier international dans le contexte des agences photographiques soviétiques (1924-1933)” [The Transnational Market of Political Images. The Workers’ International Relief within the Context of Soviet Photographic Agencies (1924-1933)”], in Études photographiques, 36 (2017): 3-29.

“Portrait de groupe et communautés d’amateurs. Le portrait des Présidents des frères Hofmeister – 1899” [“Group Portrait and Communities of Amateurs. The Portrait of the Presidents by the brothers Hofmeister”], in Revue de l’art, 175, 1 (March 2012), 17-25.

“Aux origines des usages sociaux de la photographie”, Actes de la Recherche en Sciences Sociales, 154 (September 2004), 53-65.

Translated in English: “The Origins of the Social Usage of Photography”, in Art in Translation, translated by Zachary Brown, 4, 3 (2012), 335-359.

Book Chapters

“Schandbilder der Neuzeit. Fama und Infama im Zeitalter der Fotografie” [“Pictures of Infamy. Fama and Infama in the Era of Photography”], in Herta Wolf, ed., Zeigen und Beweisen, (Berlin and Boston: De Gruyter, 2016), 83-98.

With Caroline Fieschi and Antony Petiteau, “Photographier la guerre en amateur” [“Photographing the War as an Amateur”], in Vu du Front. Représenter la Grande Guerre, Exhibition Catalog Musée de l’armée / Musée de la BDIC, October 15th – January 25th 2015 (Paris: Edition Somogy / BDIC / Musée de l’Armée, 2014), 79-88.

“Beyond Objectivity. Anthropometric Photography and Visual Culture”, in The Invention of Race. Scientific and Popular Representations, ed. Nicolas Bancel, Thomas David and Dominic Thomas (London: Routeledge, 2014), 281-290.