“For greater clarity let me concentrate on photographic reportage. Whatever applies to it is transferable to the literary form. Both owe their extraordinary development to publication techniques – radio and the illustrated press. Let us think back to Dadaism. The revolutionary strength of Dadaism lay in testing art for its authenticity. You made still-lifes out of tickets, spools of cotton, cigarette stubs, and mixed them with pictorial elements. You put a frame round the whole thing. And in this way you said to the public: look, your picture frame destroys time; the smallest authentic fragment of everyday life says more than the painting. Just as a murderer’s bloody fingerprint on a page says more than just the words printed on it. Much of this revolutionary attitude passed into the photomontage. You need only think of the works of John Heartfield, whose technique made the book jacket into a political instrument. But now let us follow the subsequent development of photography. What do we see? It has become more and more subtle, more and more modern, and the result is that it is now incapable of photographing a tenement or a rubbish-heap without transfiguring it. Not to mention a river dam or an electric cable factory: in front of these, photography can now only say, ‘How beautiful.’ The World Is Beautiful – that is the title of the well-known picture book by Renger-Patzsch in which we see New Objectivity photography at its peak. It has succeeded in turning abject poverty itself, by handling it in a modish, technically perfect way, into an object of enjoyment. For if it is an economic function of photography to supply the masses, by modish processing, with matter which previously enabled mass consumption – Spring, famous people, foreign countries – then one of its political functions is to renovate the world as it is from the inside, i.e. by modish techniques.”
Harrison, Charles, and Paul Wood. Art In Theory, 1900-1990. Blackwell, 2001, pp. 486-7.