Gandhi Speaking at All India Congress, Bombay, 1940, 1940
North African Graffiti, 1942
Killed in Action, Burma(alternatively titledWhat Price
Glory? Burmese Jungle), 1944
Carl Jung, 1957
India, 1940
Refugee Arrival: Mother finds Daughter, Atlit, 1945, 1945
Further Reading
Gidal Tim.Beginn des modernen Photojournalismus. Lucerne,
Frankfurt and New York: 1972. Translated by Maureen
Oberli-Turner asModern Photojournalism: Origin and
Evolution, 1910–1933. New York: Macmillan, 1973.
———.Die Juden in Deutschland Von der Ro ̈merzeit bis zur
Weimarer Republik, Cologne: Ko ̈nemann, 1997. Trans-
lated asJew in Germany: From the Romans to the Wei-
mar Republic, New York: Ko ̈nemann, 1998.
———.Henrietta Szold: A Documentation in Photos and
Text. Jerusalem and New York: Gefen Publishing
House, 1997.
———.Land of Promise: Photographs from Palestine 1850 to
1948. New York: A. van der Marck Editions, 1985.
———.This Is Israel. Boni and Gaer, 1948.
———.Jerusalem in 3000 Years. New Jersey: Knicker-
bocker Pr, 1996.
———.In the Thirties: Photographs by Tim Gidal, Jerusa-
lem: The Israel Museum, 1975.
———.My Way: Tim Gidal, Jerusalem: The Israel Mu-
seum, 1995.
———.Nachum Tim Gidal, Photographs 1929–1991. Tefen,
Israel: The Open Museum, 1992.
——— .Tim Gidal in the Forties, London: The Photogra-
pher’s Gallery, 1981.
Hallett, Michael. ‘‘A private passion, Tim Gidal.’’British
Journal of Photography3 March 1994, (6963): 22–23, 25.
Horak, Jan-Christopher. ‘‘Zionist Film Propaganda in Nazi
Germany.’’Historical Journal of Film, Radio and Televi-
sion, vol. 4, nr. 1, 1984.
Sadler, Richard. ‘‘The Way of Tim Gidal.’’The Photo-
graphic Journal(1956); 446–447.
Steinorth, Karl. ‘‘Zum 85 Geburtstag Nachum Tim Gidal—
Pionier des modernen Bildjournalismus.’’MFM Foto-
technik(Ludwigsburg, April 1994), vol. 42, no. 4.
Turner, Peter. ‘‘Tim Gidal.’’Creative Camera(May 1979).
Trow, Nigel. ‘‘Tim Gidal, A Visual Ethic.’’British Journal
of Photography1981.GILBERT & GEORGE
Italian/British
Gilbert Proesch and George Passmore met in 1967 at
Saint Martin’s School of Art in London where they
both studied sculpture. As Gilbert & George they
became one of the most important artistic duos of
the second half of the twentieth century. Radical in
both message and medium, they tried to do away
with the highbrow aspect of art. Photography was
their prime method to bring art to the people: ‘‘We’re
in the Yellow Pages, under ‘Artists.’ We are making
work, we imagine, for the viewer out there. Artists
fall in love with art; we fell in love with the viewer of
art. That’s the difference.’’ (Bracewell 2001, p. 5)N. Tim Gidal, Worker in a W.V.S. Recruitment Office.
[#Hulton-Deutsch Collection/CORBIS]GIDAL, N. TIM