Abstract
This essay argues that the photographic style known as Neue Sachlichkeit was in part a product of the educational ambitions of photographic archives in early twentieth-century Germany. While these archives first developed this approach to photography as a tool for visual investigation and analysis, Neue Sachlichkeit photography has since been separated from its pragmatic origins. The essay connects the dramatic close-ups and uncommon viewing angles found in these archives to Neue Sachlichkeit photography, thus contributing to recent reconsiderations of the boundaries between photographic document and artistic style.
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