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By Norman H. Crowhurst

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In addition, Schuitema wrote pseudonymously for Links Richten, most notably in his February 1933 article “Photography as a weapon in class war” (fig. 6). Oddly, Schuitema uses the same language—that of rationalization— both to promote the training of worker-photographers and to extol advertising for capitalist industry. A reading of this language illustrates his elision of the contradictions of his two practices. ” He continues in what seems to be an effort to unify different kinds of propaganda: “Advertising is neither art nor design.

At that time, for many self- 3 For Love, Modernism, or Money ( 27 ) proclaimed modernists, there existed a utopian and sometimes contradictory enthusiasm for elements of both capitalism and socialism, a desire to have the best of both worlds. This desire often played out in romantic images of technology and industry as societal curatives. We need only think of our most classic corporate identity programs, such as Paul Rand’s original logo and graphics for IBM, to see how pervasive modernist utopian design has become.

Nichts, das bezeichnender für unsere Zeit wäre, als diese Zeugen des Erfindergeistes der Ingenieure, seien es Einzelleistungen: Flugplatz, Fabrikhalle, Triebwagen der Untergrund; seien es Standardformen: Schreibmaschine, Glühbirne oder Motorrad” (Jan Tschichold, Die Neue Typografie (Berlin: Brinkmann & Bose, 1987 [1928], 11). 11. “Der konstruktive Aufbau des Ingenieurwerke und Standardproduckte hat mit Notwendigkeit zum Gebrauch der exakten geometrischen Formen geführt. Die letzte und reinste Form eines Gebrauchsgegendstandes baut sich immer aus geometrischen Gebilden auf ” (Jan Tschichold, Die Neue Typografie (Berlin: Brinkmann & Bose, 1987 [1928]), 12).

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