[
  {
    "start": 0.02,
    "end": 29.98,
    "text": "I tried for my PhD thesis to look at all these different facets and aspects of her work. I would say she was mainly a social documentarist. And then there is these small fractions of artistic explorations she did throughout the Bauhaus and her commercial work as well. I just tried to enhance how multifaceted she was, that we all in life don't play just one single role. We have all these different aspects to us. My name is Dr. Stefanie Pirker.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 30.6,
    "end": 98.69,
    "text": "My name is Anja Guttenberger, and this is my podcast, \"bauhaus faces\". Welcome back to a new episode of \"bauhaus faces\". After the last two episodes on three members of the Red Bauhaus Brigade, all of them architects, all of them men, we now return to a woman who studied photography at the Bauhaus, Edith Tudor-Hart. Generally known as the spy with a camera, this episode asks, what do we see when we stop looking for the spy and start looking at her photographs, collages and publications? Edith's Tudor heart has too often been seen through a story that is not primarily about her work, but about secrecy, politics, and the men around her. Several publications have linked her to the \"Cambridge Five\", a group of British men who spied for the Soviet Union. It is a dramatic story, but it can easily overshadow everything else.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 100.01,
    "end": 162.21,
    "text": "What we see is a remarkable photographer of social realities, poverty, housing, children's welfare, women's health and the sharp inequalities of 1920s and 30s Austria and Britain. We see a Bauhaus student, a communist, a migrant, a mother and an artist who understood photography as a tool of social critique and education. Edith Tudor-Hart came to the Bauhaus in Dessau in October of 1929, when she was still Edith Zushitsky from Vienna. She studied photography for only one semester, but at a significant moment, under Hannes Mayer, when the Bauers had become increasingly politicized and when photography had just entered the school as a formal class. The timing for this episode could hardly be better. A new exhibition has just opened here in Berlin at the Museum für Fotografie called \"Neue Frau, Neue Sehen. Die Bauhausfotografinnen\" ( New Woman, New Vision. The Female Bauhaus Photographers\"). Edith Tudor-Hart's work is part of that exhibition, too.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 162.21,
    "end": 187.91,
    "text": "My guest today is Stefanie Pirker who has just completed her PhD in art history with a dissertation on Edith Tudor-Hart She also curated an exhibition on Tudor-Hart for FOTOHOF in Salzburg, Austria later shown at the Isokon Gallery in London I saw it there last November bought the catalogue, read it in one go and was struck by how urgently Tudor-Hart's work asked to be seen beyond the spy story.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 189.05,
    "end": 226.13,
    "text": "Before we begin today's episode, I'd like to quickly share something with you. A few people have asked me how they could support me in \"bauhaus faces\", which is incredibly kind. So I've now set up a support option through Ko-fi. I love making this podcast, researching the stories, writing the episodes, recording them, editing the audio and sharing them with you. But as an independent podcast, there are also costs involved. I pay for the tools I use to record, edit and improve the sound for the services that help me publish and distribute the podcast. And sometimes also for travel connected to research, interviews or visiting places linked to the people I talk about.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 226.91,
    "end": 260.99,
    "text": "So, if you would like to support \"bauhaus faces\", you can now do that on Ko-fi. You have the option to make a one-time contribution or to support the podcast on a monthly basis as Bronze supporter for 3 euros per month, Silver supporter for 5 euros per month and Gold supporter for 7 euros per month. You can find the support option directly on Ko-fi or on the podcast website bauhausfaces.com. There it appears as a purple floating button in the lower left corner of the page with a coffee cup and a little heart on it. Of course, I will link both in the show notes for you.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 260.99,
    "end": 289.51,
    "text": "And I really want to stress this: Please don't feel any pressure. The podcast will stay free, it will stay independent, and it will stay free of advertising. I'll still do my best to publish one episode a month, as always. Whether you support the podcast financially, share it with a friend, leave a five-star rating on Spotify or Apple Podcasts, leave a kind message or simply listen, all of this helps and is deeply appreciated. Every listener matters to me. Thank you for being here.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 290.51,
    "end": 296.65,
    "text": "Let's now dive into a new episode of \"bauhaus faces\" and shine a light on Edith Tudor-Hart.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 299.54,
    "end": 305.94,
    "text": "When in December 2018, Wolfgang Suschitzky's, so Edith Tudor-Hart's brother's",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 305.94,
    "end": 310.98,
    "text": "estate, came over to FOTOHOF, there has been a part of her estate that has",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 310.98,
    "end": 313.2,
    "text": "not been discovered so far in his estate.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 313.44,
    "end": 321.38,
    "text": "So four boxes of approximately 1,500 negatives, which then I started digitizing and researching on.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 321.74,
    "end": 326.6,
    "text": "And basically from there, we did a little exhibition in the archive at FOTOHOF.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 326.6,
    "end": 331.04,
    "text": "And through that gradual work, that process over the last five and a half years,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 331.22,
    "end": 334.72,
    "text": "her archive gradually shifted over to Austria.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 334.94,
    "end": 338.16,
    "text": "So part of it has been with the National Galleries in Edinburgh.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 338.46,
    "end": 343.82,
    "text": "And from there it went to Salzburg. So the family basically wanted to reunite",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 343.82,
    "end": 346.84,
    "text": "Wolfgang's and Edith's estate in one archive.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 347.26,
    "end": 351.38,
    "text": "And yes, it's been a pleasure and a great possibility for me to work directly",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 351.38,
    "end": 356.58,
    "text": "with the material. And then I started doing my PhD on her life and photographic work.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 359.08,
    "end": 364,
    "text": "Edith in Vienna, she became a photographer and then had this very short window",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 364,
    "end": 368,
    "text": "where she studied at the Bauhaus and her younger brother followed her footsteps",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 368,
    "end": 373.6,
    "text": "becoming a photographer, but he studied in Vienna and had more of a naturalistic,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 373.8,
    "end": 375.2,
    "text": "objective approach to photography.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 375.2,
    "end": 383.52,
    "text": "And Edith emigrated to the UK in 1933 because she was married to a British, Alexander Tudor-Hart.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 383.72,
    "end": 387.34,
    "text": "She was able to escape Austria and persecution",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 387.34,
    "end": 395.14,
    "text": "because she was a communist and her brother later in 1935 also escaped Vienna",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 395.14,
    "end": 401.24,
    "text": "and first he went to Holland with his first partner and then he went to England",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 401.24,
    "end": 405.22,
    "text": "where he settled and became quite a renowned photographer and videographer.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 405.74,
    "end": 411.5,
    "text": "Wolfgang Suschitzky died in 2016. He sent Edith's estate to Edinburgh in 2012,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 411.5,
    "end": 413.16,
    "text": "and then after four years when",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 413.16,
    "end": 417.58,
    "text": "he passed away, that's when his estate then gradually came to Salzburg.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 418.08,
    "end": 422.56,
    "text": "That was a brief but necessary look at Edith Tudor-Hart's estate and at how",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 422.56,
    "end": 426.64,
    "text": "material that had long been dispersed has recently come together at FOTOHOF.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 427.2,
    "end": 431.66,
    "text": "With that context in mind, let us now turn to Edith Tudor-Hart herself,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 431.92,
    "end": 436.8,
    "text": "to her life, her political commitments, and above all, to her photographic work.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 438.3,
    "end": 445.96,
    "text": "Edith Tudor-Hart's social background, she was born in Favoriten, a working-class",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 445.96,
    "end": 449.06,
    "text": "district of Vienna, and her father, Wilhelm,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 449.46,
    "end": 453.98,
    "text": "ran together with his brother, Philipp, the first socialist bookshop in Vienna.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 453.98,
    "end": 460.4,
    "text": "So the so-called Brüder Suschitzky (Brothers Suschitzky) bookshop was a well-established",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 460.4,
    "end": 464.46,
    "text": "bookshop in Vienna, mainly focusing on politics,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 465.04,
    "end": 472.86,
    "text": "economy, philosophy, sexual education, basically trying to enhance the working class interests.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 473.58,
    "end": 479.88,
    "text": "And Edith came from a very enlightened left-wing or social democratic milieu.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 480.54,
    "end": 486.28,
    "text": "So her parents, originally Jewish though, they had their name crossed off the list.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 486.52,
    "end": 491.98,
    "text": "So they weren't practicing, but they were intellectuals and Edith came from the background.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 492.28,
    "end": 497.26,
    "text": "She was in a way politically more radical than her parents. So she joined the",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 497.26,
    "end": 502.5,
    "text": "Communist Party and studied at the Frauen-Erwerb-Verein (Women's Employment Association) in Vienna.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 502.8,
    "end": 506.26,
    "text": "When she started her education as a Montessori kindergarten teacher,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 506.26,
    "end": 510.32,
    "text": "she was still quite young. She was 16 years old and then was allowed to go to",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 510.32,
    "end": 514.94,
    "text": "England to join a course with Maria Montessori herself in 1925.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 515.52,
    "end": 521.74,
    "text": "And that's when she met Beatrix Tudor-Hart, another Montessori teacher and",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 521.74,
    "end": 525.56,
    "text": "her older brother, Alexander Tudor-Hart, who later became Edith's husband.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 526.12,
    "end": 533.68,
    "text": "And she went to England a couple more times, 1927 and 1929, and worked at a",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 533.68,
    "end": 534.9,
    "text": "kindergarten there as well.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 534.9,
    "end": 539.64,
    "text": "And then later, after she started being a Montessori kindergarten teacher,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 539.9,
    "end": 541.82,
    "text": "she decided to become a photographer.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 542.3,
    "end": 546.7,
    "text": "Some of her first photographs show children, and she started working at the",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 546.7,
    "end": 552.72,
    "text": "\"Haus der Kinder,\" a very progressive institution for children from a working-class background in Vienna,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 553.02,
    "end": 558.48,
    "text": "and documented the environment there and published in newspapers like \"Der Kuckuck.\"",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 559.05,
    "end": 563.67,
    "text": "She always came back to those topics. Children were one of her main motives.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 563.99,
    "end": 569.37,
    "text": "And I think this has been a little bit underrepresented so far in the art discourse.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 569.73,
    "end": 571.59,
    "text": "And also later in Vienna.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 571.85,
    "end": 575.87,
    "text": "After her emigration, she had a little son with special needs.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 576.11,
    "end": 581.45,
    "text": "And she started in-depth looking at institutions for children with special needs",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 581.45,
    "end": 585.63,
    "text": "and documented them throughout her life, mainly in the 40s and 50s.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 585.63,
    "end": 590.43,
    "text": "Most of her work, aside from her commercial work that she used to basically",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 590.43,
    "end": 592.75,
    "text": "earn some money, was focusing on children.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 594.51,
    "end": 597.67,
    "text": "Bruno Frei, he published a book, \"Das Elend Wiens\".",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 598.21,
    "end": 600.41,
    "text": "Which is in English, \"The Misery of Vienna.\"",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 600.97,
    "end": 605.91,
    "text": "Where together with Hans and Anton Bock, two photographers', brothers,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 606.57,
    "end": 609.77,
    "text": "documented the misery of Vienna at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 610.05,
    "end": 614.13,
    "text": "And Bruno Frei published his work at the Anzengruber Verlag,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 614.23,
    "end": 616.45,
    "text": "which was her father's publishing house.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 616.69,
    "end": 622.11,
    "text": "So I suppose she must have known those photos from Vienna's misery in the 20s.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 622.11,
    "end": 625.49,
    "text": "And some of her early works already",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 625.49,
    "end": 628.63,
    "text": "like a couple of years before she started studying at Bauhaus",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 628.63,
    "end": 633.55,
    "text": "addressed this misery where she goes and sees families in their living conditions",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 633.55,
    "end": 638.29,
    "text": "and documents the children on the streets as well so I think that has been a",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 638.29,
    "end": 642.21,
    "text": "big influence for her and then aside from that obviously there's this political",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 642.21,
    "end": 646.23,
    "text": "component a lot of her work centers around demonstrations,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 646.81,
    "end": 648.73,
    "text": "people on the streets, poverty. So it paints a picture of Vienna's social class at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 654.57,
    "end": 661.23,
    "text": "And she is very interested in the ability of the photographic medium to educate",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 661.23,
    "end": 664.47,
    "text": "people and educate the working class in general.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 664.81,
    "end": 669.15,
    "text": "She has used the photographic equipment before she even studied at Bauhaus,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 669.47,
    "end": 672.97,
    "text": "but I think maybe it was more an amateur",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 672.97,
    "end": 675.99,
    "text": "sort of an idea of trying to express own",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 675.99,
    "end": 678.91,
    "text": "political views through the photographic medium.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 678.91,
    "end": 682.29,
    "text": "And her first projects were",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 682.29,
    "end": 685.45,
    "text": "mainly reportages she did out",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 685.45,
    "end": 689.17,
    "text": "of own interest she would basically go out into streets document or she would",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 689.17,
    "end": 693.49,
    "text": "photograph at the Haus der Kinder in Vienna and then she would approach newspapers.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 693.49,
    "end": 699.81,
    "text": "A few early examples are photography prizes that she won at \"Der Kuckuck\" for example",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 699.81,
    "end": 704.83,
    "text": "so she would hand in her photos and just document Vienna at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 706.71,
    "end": 711.39,
    "text": "In a lot of those portraits or street photographs, people look into the camera.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 711.57,
    "end": 715.97,
    "text": "They're aware of what they're doing. She's not interested in this snapshot photography",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 715.97,
    "end": 717.85,
    "text": "where she disappears behind the camera.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 718.03,
    "end": 720.83,
    "text": "She is also using a medium format camera, not a Leica.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 721.11,
    "end": 726.19,
    "text": "So she is engaging with people in a lot of those book publications that she did.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 726.47,
    "end": 730.43,
    "text": "She's especially naming them as well. So they're described in the text.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 730.67,
    "end": 734.79,
    "text": "For example, she published in Margery Spring Rice's \"Working Class Wives.\"",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 734.79,
    "end": 737.65,
    "text": "And there she's talking about the women as",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 737.65,
    "end": 740.65,
    "text": "well that she met so it's quite interesting how she engaged with them.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 742.03,
    "end": 743.83,
    "text": "There is",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 743.83,
    "end": 746.87,
    "text": "a couple of photos where she documents children on",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 746.87,
    "end": 750.03,
    "text": "the streets dirty and the poverty. But it's quite interesting because",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 750.03,
    "end": 754.37,
    "text": "some of these photos still compose some sort of humoristic approach, even like",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 754.37,
    "end": 758.87,
    "text": "some children are smiling they don't necessarily all look miserable. There's",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 758.87,
    "end": 763.55,
    "text": "one photograph that I remember that I found quite striking because she visits",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 763.55,
    "end": 767.81,
    "text": "a family and the little child is holding a print of a newspaper.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 768.47,
    "end": 774.89,
    "text": "And I wasn't able to identify where it has been published, this article that the child is holding.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 775.03,
    "end": 781.25,
    "text": "But it seems to be more of like a document of her going back to the family.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 781.43,
    "end": 787.31,
    "text": "So those photos show the mother cleaning a house on the newspaper and she goes",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 787.31,
    "end": 791.11,
    "text": "and shows the newspaper to the family in their home environment,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 791.11,
    "end": 796.29,
    "text": "which I found quite interesting to see that she has very much been engaged with",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 796.29,
    "end": 800.77,
    "text": "the people she photographed and in contact and showing them where their photos",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 800.77,
    "end": 801.87,
    "text": "have been published later.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 803.11,
    "end": 806.75,
    "text": "I think her main influence must have been Alexander Tudor-Hart,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 806.87,
    "end": 809.81,
    "text": "who was already a member of the Communist Party in Great Britain.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 810.11,
    "end": 814.65,
    "text": "And in some of her private letters that are at the National Archives in London,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 814.87,
    "end": 818.43,
    "text": "some of her letters that she wrote to Alex, she's specifically saying:",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 818.43,
    "end": 823.93,
    "text": "\"You were the one that educated me, who was responsible for my political education.\"",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 823.97,
    "end": 829.55,
    "text": "So I suppose he was a huge influence for her, taking her to also these communist",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 829.55,
    "end": 834.17,
    "text": "demonstrations – one of them in Trafalgar Square, where later she was expelled",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 834.17,
    "end": 835.87,
    "text": "from the country in 1931.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 836.27,
    "end": 839.95,
    "text": "So I think he must have been a main influence for her.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 840.23,
    "end": 845.45,
    "text": "But before that, she also, because when she studied at Bauhaus from October",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 845.45,
    "end": 851.79,
    "text": "29 to April 1930, that's when she also joined Kostufra, so the communist student",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 851.79,
    "end": 853.17,
    "text": "fraction at the Bauhaus.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 853.29,
    "end": 856.91,
    "text": "So there must have been some from like the late 20s ongoing,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 856.93,
    "end": 860.15,
    "text": "you know, political enlightenment going on in her life.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 860.83,
    "end": 867.21,
    "text": "There is no clear document on what or who made her decide to go to Bauhaus, especially.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 867.63,
    "end": 874.65,
    "text": "But in the 20s, photography became a subject at art universities or at the academies.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 875.23,
    "end": 880.69,
    "text": "And I mean, Vienna, for example, with the Höhere Grafische Bundes-Lehr- und Versuchsanstalt,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 880.87,
    "end": 885.49,
    "text": "where her brother studied, represented more of a conservative or technical approach,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 885.65,
    "end": 889.29,
    "text": "whereas the Bauhaus was more of a holistic experimental approach.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 889.29,
    "end": 893.25,
    "text": "So I don't know what or who made her decide to go to Dessau,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 893.47,
    "end": 898.53,
    "text": "but I suppose she wanted a more of an engaged experimental approach in general.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 899.27,
    "end": 903.47,
    "text": "And I also suppose she was quite interested in Kostufra and this more like",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 903.47,
    "end": 905.55,
    "text": "left-wing idea behind photography.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 906.01,
    "end": 910.45,
    "text": "But Kostufra also wanted a more of a documentary-based approach in the photographic",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 910.45,
    "end": 913.71,
    "text": "medium as well, which I suppose she found interesting.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 914.77,
    "end": 918.57,
    "text": "Let us slow down for a moment and look at the wider situation of photography",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 918.57,
    "end": 923.63,
    "text": "around 1929, the year Edith Tudor-Hart decided to study at the Bauhaus.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 924.17,
    "end": 926.79,
    "text": "By then, photography had changed rapidly.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 927.45,
    "end": 931.67,
    "text": "The Leica 1, presented at the Spring Fair in Leipzig in 1925,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 932.09,
    "end": 937.99,
    "text": "had introduced a much smaller and more mobile 35mm format, a format previously",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 937.99,
    "end": 940.37,
    "text": "exclusively used in cinema film.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 941.11,
    "end": 944.99,
    "text": "Compared to the heavy plate cameras with glass or sheet negatives,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 945.27,
    "end": 950.41,
    "text": "the Leica opened up new possibilities for more flexible working outside the studio.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 950.95,
    "end": 955.45,
    "text": "Its limitations, however, also shaped the look of many surviving photographs.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 955.65,
    "end": 959.59,
    "text": "Small formats, shallow focus and sometimes a slight blur.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 960.27,
    "end": 965.03,
    "text": "In 1929, the Rolleiflex offered another important step forward.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 965.53,
    "end": 970.25,
    "text": "This twin-lens box camera, with a separate viewfinder opening at the top,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 970.37,
    "end": 974.65,
    "text": "soon became a preferred tool for professional photographers and artists,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 975.25,
    "end": 980.07,
    "text": "among them Florence Henri, whom you may remember from an earlier episode of \"bauhaus faces.\"",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 980.55,
    "end": 985.31,
    "text": "The same year also saw one of the most influential photography exhibitions of",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 985.31,
    "end": 990.45,
    "text": "the interwar period, \"Film und Foto,\" or \"FiFo\" for short, in Stuttgart.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 990.99,
    "end": 996.81,
    "text": "Between May and July 1929, it brought together the new visual languages of modern",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 996.81,
    "end": 1001.47,
    "text": "photography and film, precisely the kind of experimental atmosphere into which",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1001.47,
    "end": 1002.89,
    "text": "Edith Tudor-Hart was stepping.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1003.51,
    "end": 1006.71,
    "text": "And 1929 was important for the Bauhaus as well.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1007.23,
    "end": 1011.23,
    "text": "Hannes Meyer, who had become the school's second director in 1928,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1011.51,
    "end": 1015.85,
    "text": "established photography as a class and invited Walter Peterhans to lead it.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1016.77,
    "end": 1020.11,
    "text": "Most publications simply give the year, not the exact moment,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1020.11,
    "end": 1025.17,
    "text": "and I have to admit my own publication \"bauhaus.photo\" from 2014 doesn't either.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1025.59,
    "end": 1031.53,
    "text": "But the Bauhaus Journal offers a useful clue. In the April to June 1929 issue,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1031.95,
    "end": 1035.59,
    "text": "Walter Peterhans is mentioned as a new teacher at the Bauhaus.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1035.75,
    "end": 1041.01,
    "text": "So, it seems likely that the photography class began in the summer semester of 1929.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1041.83,
    "end": 1046.85,
    "text": "When Edith Tudor-Hart arrived in October, she was joining it in its second semester.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1047.59,
    "end": 1052.63,
    "text": "At the same time, the Bauhaus under Meyer was becoming increasingly politicized.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1052.81,
    "end": 1057.51,
    "text": "The communist student faction Kostrufra grew more active, a development that",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1057.51,
    "end": 1060.67,
    "text": "would eventually contribute to Meyer's dismissal in 1930.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1061.51,
    "end": 1065.35,
    "text": "We have already touched on this context in the episodes on Hannes Meyer,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1065.67,
    "end": 1070.87,
    "text": "Etel and Ernst Mittag and Tibor Weiner. So, those might be interesting companions to this episode.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1071.01,
    "end": 1073.01,
    "text": "I will link them for you in the show notes.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1073.41,
    "end": 1078.05,
    "text": "While there is abundant material on Edith Tudor-Hart's life in Vienna and later",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1078.05,
    "end": 1083.11,
    "text": "in Britain, very little survived from her six-month stay at the Bauhaus in Dessau.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1083.57,
    "end": 1090.09,
    "text": "Let us now return to Stefanie Pirker and ask what we can know about this brief but important period.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1091.81,
    "end": 1097.73,
    "text": "So there is a school certificate saying that she studied at Bauhaus from the",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1097.73,
    "end": 1104.97,
    "text": "29th of October 1929. They're only the short window till the 15th of April 1930.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1105.53,
    "end": 1111.09,
    "text": "So just a few months, actually. Wolfgang Suschitzky writes about Edith and says",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1111.09,
    "end": 1115.79,
    "text": "that she attended Walter Peterhans' photography course, where she learned all",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1115.79,
    "end": 1117.13,
    "text": "the technical background.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1117.13,
    "end": 1123.13,
    "text": "And there is a school certificate saying that she participated in courses like",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1123.13,
    "end": 1127.73,
    "text": "artistic drawing, material studies, chemistry, descriptive geometry,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1128.27,
    "end": 1129.43,
    "text": "lettering, and life drawing.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1129.65,
    "end": 1133.87,
    "text": "But there is not so much known about what especially she did there.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1133.87,
    "end": 1138.85,
    "text": "There's only one photographic document showing her and her cousin,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1139.07,
    "end": 1143.39,
    "text": "Karla Suschitzky, who was a dancer and visited her in Dessau.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1143.63,
    "end": 1148.01,
    "text": "And it shows the two women on the balcony of the student house in Dessau.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1149.49,
    "end": 1154.59,
    "text": "There are a few letters like how much she enjoyed studying there and that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1154.59,
    "end": 1161.23,
    "text": "And there's one interesting one from December 1930, so after her studies,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1161.87,
    "end": 1168.01,
    "text": "where her friend Erich (Ernst?) Lichtenthal, a Hungarian architect who also studied at",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1168.01,
    "end": 1170.47,
    "text": "the Bauhaus, so somebody she must have met there,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1170.65,
    "end": 1177.33,
    "text": "is asking her if there is a possibility for him to come to London and find a job.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1177.33,
    "end": 1183.07,
    "text": "And he is suggesting to establish a furniture design shop together with her",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1183.07,
    "end": 1188.33,
    "text": "in London. So she has been in contact with some of the students that she met in Dessau.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1189.47,
    "end": 1194.03,
    "text": "There's nothing that I could say that was directly taken in Dessau.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1194.25,
    "end": 1199.71,
    "text": "The negatives mainly show Vienna in the 1930s and then later the rest she did in the UK.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1200.15,
    "end": 1207.03,
    "text": "There is quite a fascinating trace, a collage that she made around 1929.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1207.59,
    "end": 1212.25,
    "text": "Which shows \"Die neue Frau der Zukunft,\" (\"The New Modern Women of the Future.\")",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1212.59,
    "end": 1218.59,
    "text": "The collage itself is part of her scrapbook, basically a book that she made",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1218.59,
    "end": 1221.69,
    "text": "herself where she was collecting newspaper clippings.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1222.01,
    "end": 1228.09,
    "text": "And this collage shows a young woman in full movement throwing a ball.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1228.33,
    "end": 1233.69,
    "text": "And in the background, we can see a hunting scene, a victorious hunting scene,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1233.85,
    "end": 1237.07,
    "text": "and some women climbing up a mountain.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1237.07,
    "end": 1242.91,
    "text": "So it's basically the idea of female participating in society and moving full",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1242.91,
    "end": 1245.99,
    "text": "force and power into a new generation.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1246.13,
    "end": 1249.35,
    "text": "And this collage is quite fascinating",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1249.35,
    "end": 1253.89,
    "text": "because it already cites some of her inspirations from England.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1254.13,
    "end": 1257.45,
    "text": "So some of these clippings are from the Queen Mary's altar,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1257.45,
    "end": 1263.35,
    "text": "plus also this clipping of the young woman is on the cover of the \"Arbeiterillustrierte",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1263.35,
    "end": 1266.47,
    "text": "Zeitung,\" (AIZ) so a German left-wing newspaper.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1266.47,
    "end": 1272.85,
    "text": "It is not clear if the cover itself was from Edith, the photograph,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1273.07,
    "end": 1278.99,
    "text": "because the cover has been published in 1931 and the collage has been made approximately 29,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1279.43,
    "end": 1281.87,
    "text": "but the negative is not in Edith's estate.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1281.87,
    "end": 1286.03,
    "text": "So it's not clear to trace the original photographer of the cover,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1286.03,
    "end": 1289.05,
    "text": "but she is using this photograph for her collage.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1289.27,
    "end": 1294.47,
    "text": "And it's an early, very interesting experimental approach in her photographic work.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1296.01,
    "end": 1303.05,
    "text": "She had a few, and again, one where I can't attribute it to her 100%, but I suppose it's hers.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1303.23,
    "end": 1309.43,
    "text": "It has been in the family's estate from 1928, this collage called \"Die Großstadt,\"",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1309.93,
    "end": 1311.61,
    "text": "so \"The Big City\" or \"The Metropolis.\"",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1312.25,
    "end": 1316.27,
    "text": "And in the back of the collage, it's written Suschitzky 28.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1316.89,
    "end": 1322.73,
    "text": "And Suschitzky, so her name at the time was Edith Suschitzky, but also there was Wolfgang Suschitzky.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1322.73,
    "end": 1327.79,
    "text": "I've spoken to the family, and Wolfgang Suschitzky's children don't believe",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1327.79,
    "end": 1333.67,
    "text": "it's his work, because as far as they know, he has never experimented with collages in that way.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1333.79,
    "end": 1340.33,
    "text": "He wanted a more naturalistic approach, studying in Vienna. So it might as well have been her collage.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1340.57,
    "end": 1346.05,
    "text": "It's a fascinating object, because it's a direct reference to Walter Ruttmann's",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1346.05,
    "end": 1350.81,
    "text": "\"Berlin. Die Sinfonie der Großstadt.\" So she's referencing, you know,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1350.93,
    "end": 1354.41,
    "text": "all these montage ideas around the metropolis at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1354.55,
    "end": 1360.71,
    "text": "And the photograph itself shows young women kind of smiling and in the sun with",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1360.71,
    "end": 1364.97,
    "text": "distorted skyscrapers in the background and very dynamic, progressive sort of approach of the hustling and bustling of the big city,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1365.33,
    "end": 1369.87,
    "text": "basically.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1371.26,
    "end": 1376.5,
    "text": "At this point, it is worth making a brief detour to Walter Ruttmann's 1927 film",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1376.5,
    "end": 1380.64,
    "text": "\"Berlin. Die Sinfonie der Großstadt,\" known in English as \"Berlin.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1380.86,
    "end": 1382,
    "text": "Symphony of a Metropolis.\"",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1382.6,
    "end": 1388.48,
    "text": "It is a silent black-and-white film accompanied by music. A semi-documentary,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1388.76,
    "end": 1392.86,
    "text": "largely non-narrative portrait of Berlin over the course of a single day.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1393.4,
    "end": 1398.42,
    "text": "We move from the quiet early morning into work, traffic, leisure,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1398.84,
    "end": 1400.7,
    "text": "nightlife and raving entertainment.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1401.26,
    "end": 1405.94,
    "text": "But instead of following individual characters, the film creates meaning through",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1405.94,
    "end": 1408.12,
    "text": "montage, movement and repetition.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1409.26,
    "end": 1414.82,
    "text": "In this sense, Ruttmann's film freezes time in Berlin in the mid-1920s––a",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1414.82,
    "end": 1418.68,
    "text": "time before the Great Depression hit, before the Nazis took over,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1418.86,
    "end": 1423.18,
    "text": "and before the Second World War left one-third of the city in ruins.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1423.76,
    "end": 1428.68,
    "text": "It is an experimental film, even in a decade that produced works such as \"Metropolis,\"",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1428.92,
    "end": 1430.98,
    "text": "\"Nosferatu,\" and \"Battleship Potemkin.\"",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1431.26,
    "end": 1434.04,
    "text": "Films that changed the cinematic world forever.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1434.72,
    "end": 1439.46,
    "text": "The film's sense of acceleration, the fast-moving trains, cars,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1439.62,
    "end": 1444.26,
    "text": "machines and crowds that seem to never stop moving, create the image of a modern",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1444.26,
    "end": 1446.1,
    "text": "metropolis constantly in motion.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1446.82,
    "end": 1452.4,
    "text": "These sequences are repeatedly contrasted with quieter, almost isolated moments.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1452.72,
    "end": 1457.9,
    "text": "People and animals on empty streets, individual gestures, brief pauses with",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1457.9,
    "end": 1460.44,
    "text": "the urban rhythm or birds' views of the city.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1461.08,
    "end": 1465.28,
    "text": "The recurring motif of the clock structures the film and reminds us that this",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1465.28,
    "end": 1469.48,
    "text": "day in Berlin is passing, hour by hour, image by image.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1470.14,
    "end": 1474.42,
    "text": "And this brings us back to Edith Tudor-Hart. The logic of montage,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1474.82,
    "end": 1479.12,
    "text": "contrast, and social observation that shaped modern film culture also resonates",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1479.12,
    "end": 1481.68,
    "text": "with the collages and her photographic work.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1482.54,
    "end": 1487.46,
    "text": "Starting with her early collages, she combines images not only to show modern",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1487.46,
    "end": 1490.72,
    "text": "life, but to argue and to make a point about it.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 1492,
    "end": 1496,
    "text": "There's a couple more collages that might be interesting that she later did",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1496,
    "end": 1499.46,
    "text": "in the 30s when she was already immigrated to the UK.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1499.88,
    "end": 1505.38,
    "text": "So after working with Isokon and Jack and Molly Pritchard, she started publishing",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1505.38,
    "end": 1510,
    "text": "her first works in the UK in the newspaper \"The Listener.\"",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1510.54,
    "end": 1514.8,
    "text": "And there she has been using collage techniques for covers.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1514.8,
    "end": 1522.28,
    "text": "So there is one example from the 10th of January, 1934, where she is again showing",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1522.28,
    "end": 1527.28,
    "text": "the big city, the metropolis, and it's showing a man holding his ears because",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1527.28,
    "end": 1528.7,
    "text": "of the noise of the big city.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1529,
    "end": 1533.42,
    "text": "So that's quite an interesting example where she's exploring that collage style",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1533.42,
    "end": 1534.92,
    "text": "in her work a little bit further.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1536.44,
    "end": 1539.66,
    "text": "Some of her early photographs there is quite well",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1539.66,
    "end": 1542.58,
    "text": "known where she is showing Vienna's ferris wheel",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1542.84,
    "end": 1545.84,
    "text": "from a quite high up bird's eye perspective",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1545.84,
    "end": 1548.74,
    "text": "that's again one of those rare very",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1548.74,
    "end": 1551.6,
    "text": "graphical works that she did in the",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1551.6,
    "end": 1557.82,
    "text": "30s and that in direct reference to Moholy-Nagy's Berlin Radio Tower photograph",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1557.82,
    "end": 1563.08,
    "text": "for example would work or also she's quoting Sepp Novak another photographer",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1563.08,
    "end": 1568.62,
    "text": "in Vienna at the time did similar work so she must have known those references",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1568.62,
    "end": 1570.28,
    "text": "and directly worked with them.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1571.4,
    "end": 1574.98,
    "text": "I have another example, maybe, if we're talking about these references,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1574.98,
    "end": 1576.98,
    "text": "which was quite an interesting trace.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1577.22,
    "end": 1581.12,
    "text": "So I already mentioned she published in this Viennese newspaper,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1581.64,
    "end": 1585.68,
    "text": "\"Der Kuckuck,\" which was established by the Social Democratic Party.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1585.68,
    "end": 1588.5,
    "text": "So it was like a left-wing illustrated magazine.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1588.84,
    "end": 1594,
    "text": "And there is this article that I also again mentioned, \"Was will der neue Kindergarten?\"",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1594.04,
    "end": 1595.7,
    "text": "(\"What does the new kindergarten want?\").",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1595.82,
    "end": 1600.8,
    "text": "One of her early published contributions. And in the same newspaper,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1601.06,
    "end": 1603.68,
    "text": "there is one page, page 15.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1604,
    "end": 1608.4,
    "text": "So it's the issue from 27th of September, 1931.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1608.7,
    "end": 1612.68,
    "text": "And there is this one article saying, \"Ein Hundeleben\" (\"A dog's life\").",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1612.86,
    "end": 1616.6,
    "text": "And it's about the misery of people at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1616.72,
    "end": 1624.42,
    "text": "And it shows people in Viennese slums and compares it to dogs that sometimes have better lives.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1624.66,
    "end": 1629.58,
    "text": "So a dog at a dog parlor who's being groomed. And it's really interesting because",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1629.58,
    "end": 1635.62,
    "text": "there is two photographs from anonymous photographers, but later she references",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1635.62,
    "end": 1637.22,
    "text": "it like one-on-one nearly.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1637.5,
    "end": 1643.22,
    "text": "So she took photos of Vienna's slums as well, which pretty much look very similar",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1643.22,
    "end": 1646.48,
    "text": "to those examples that have been published in \"Der Kuckuck.\"",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1646.48,
    "end": 1651.04,
    "text": "And in the UK, she works together with Pearl Binder, a",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1652.14,
    "end": 1657.92,
    "text": "lyricist, a poet and artist who wants to do a book with her together called",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1657.92,
    "end": 1664.16,
    "text": "\"Rich Man, Poor Man,\" where they compare the poverty and the rich aspect of London and society,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1664.46,
    "end": 1667.52,
    "text": "where then Edith takes photos at the dog parlor as well.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1667.72,
    "end": 1673.66,
    "text": "So she's sort of referencing those images, those stories she has seen in Viennese",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1673.66,
    "end": 1676.08,
    "text": "newspapers with her own photographs again.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1676.92,
    "end": 1681.18,
    "text": "So for this, she's using only her photographs, but she has written texts about",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1681.18,
    "end": 1683.66,
    "text": "her own photographic work in newspapers.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1684.36,
    "end": 1691.38,
    "text": "And a very interesting one that is in direct connection with the Bauhaus is",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1691.38,
    "end": 1696.24,
    "text": "actually her first published article in newspapers in general,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1696.52,
    "end": 1699.46,
    "text": "which is in the \"Commercial Art Magazine.\"",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1699.46,
    "end": 1705.44,
    "text": "So she published her first article in a British newspaper in March 1931,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1705.66,
    "end": 1707.16,
    "text": "so while she was still in Vienna.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1707.46,
    "end": 1713.34,
    "text": "That article is about the Bauhaus in Dessau. So she is writing about Bauhaus",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1713.34,
    "end": 1720.26,
    "text": "and those political ideas and why it is such an important school for artists.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1720.26,
    "end": 1724.14,
    "text": "And she also talks about Hans Meyer as the director.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1725.02,
    "end": 1731.32,
    "text": "And she shows not her own photographs. She shows one of Lucia Moholy of the Bauhaus.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1731.66,
    "end": 1737.74,
    "text": "And it is an interesting example because that is a very rare publication in",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1737.74,
    "end": 1741.14,
    "text": "the UK. So early talking about the Bauhaus in 1931.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1741.44,
    "end": 1746.94,
    "text": "Maybe I should just read out a quote here. So she talks about the qualities",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1746.94,
    "end": 1754.88,
    "text": "of how art in general is taught at the Bauhaus and also why there is movement towards collectivism.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1755.7,
    "end": 1760.78,
    "text": "And she says: \"It is undeniably the film rather than the painted picture,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1760.98,
    "end": 1765.64,
    "text": "which has a hold on the masses, that the dance and the play are moving towards",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1765.64,
    "end": 1770.68,
    "text": "collectivism, that what matters is not longer only the staff, but the ensemble.\"",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1770.68,
    "end": 1773.74,
    "text": "And further she also says: \"Painting may",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1773.74,
    "end": 1779.44,
    "text": "be dead, art is not. She will only change her appearance.\" So it's got a lot of",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1779.44,
    "end": 1784.54,
    "text": "political engaged ideas behind that as well and she's comparing the Bauhaus",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1784.54,
    "end": 1791.42,
    "text": "and the taught ideas of Vkhutemas in Moscow as well and so those ideas of a collective art in general.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1792.17,
    "end": 1796.75,
    "text": "I find it really hard to compare Edith to the heart with specific photographers,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1797.15,
    "end": 1804.39,
    "text": "especially Bauhaus photographers, because I feel like her work has mainly this social idea behind it.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1804.69,
    "end": 1806.63,
    "text": "It's very close to a human being",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1806.63,
    "end": 1811.43,
    "text": "and their environment, mainly looking at working class ideas as well.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1811.43,
    "end": 1818.25,
    "text": "And she is exploring some graphical or experimental aspects in her early work,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1818.27,
    "end": 1823.91,
    "text": "but she's not particularly seeing herself as an architecture photographer, for example.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1824.21,
    "end": 1828.59,
    "text": "I see less of these graphical aesthetic explorations that Lucia,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1828.73,
    "end": 1830.19,
    "text": "for example, did in her work.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1830.19,
    "end": 1835.49,
    "text": "And those architectural photographs that Edith did, also later of Isokon,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1835.85,
    "end": 1843.67,
    "text": "have much more to do with the idea of social housing and that change as a political",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1843.67,
    "end": 1848.15,
    "text": "component when it comes to building in the UK in the 1930s and 40s.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1848.95,
    "end": 1852.15,
    "text": "This is a little bit unclear why exactly she moved back to Vienna.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1852.27,
    "end": 1857.33,
    "text": "She traveled around a little bit in those years, 1930, '31 and '32, there",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1857.33,
    "end": 1858.99,
    "text": "are some gaps in her biography.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1859.67,
    "end": 1864.81,
    "text": "The British Security Service that has surveilled her throughout her life,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1864.95,
    "end": 1869.79,
    "text": "they believed that she might have even done some secret service work for the",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1869.79,
    "end": 1871.83,
    "text": "Russian intelligence service at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1872.05,
    "end": 1875.83,
    "text": "She has traveled a bit, so there is a postcard in her estate,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1875.85,
    "end": 1882.31,
    "text": "for example, from 1931, sent from Paris to her mother. So she must have been in France at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1882.45,
    "end": 1887.19,
    "text": "But she was mainly back in Vienna and starting a career as a photo reporter.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1887.19,
    "end": 1895.61,
    "text": "So most of her work, 1930-31, show street scenes in Vienna, communist demonstrations,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1896.29,
    "end": 1897.61,
    "text": "1st of May gatherings.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1897.65,
    "end": 1902.33,
    "text": "So they show the political change of the city at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1903.81,
    "end": 1909.37,
    "text": "The idea of Red Vienna at the time, so the Social Democratic Workers' Party,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1910.03,
    "end": 1916.81,
    "text": "has been politically in charge of the city for a long time, so enhancing workers' rights and movements.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1916.81,
    "end": 1926.37,
    "text": "And as then 1932, Engelbert Dollfuß came into power, he slowly dismantled democracy at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1926.61,
    "end": 1932.07,
    "text": "And through Dolfuß' dictatorship, basically the Communist Party and also the",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1932.07,
    "end": 1937.23,
    "text": "National Socialist Party became illegal, which made Edith Tudor-Hart as a Communist",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1937.23,
    "end": 1940.63,
    "text": "Party member doing illegal party work at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1940.63,
    "end": 1948.15,
    "text": "And in May 1933, she was caught delivering communist propaganda letters,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1948.75,
    "end": 1952.01,
    "text": "carrying them with her, and went to prison for a month.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1952.21,
    "end": 1954.71,
    "text": "Some of her photographic work also has been confiscated.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1955.35,
    "end": 1961.09,
    "text": "So she was released after a month, 1933. And then she quickly got married to Alexander",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1961.09,
    "end": 1965.59,
    "text": "Tudor-Hart in August and left the country in October, so",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1965.59,
    "end": 1971.59,
    "text": "moved to England and emigrated there, which from that perspective at that time has saved her life.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1973.07,
    "end": 1976.45,
    "text": "There's nothing left from the documents that are available today.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1976.45,
    "end": 1980.15,
    "text": "And most of them are held by the National Archives in Kew in London.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1980.53,
    "end": 1985.97,
    "text": "There is a lot of letters from 1930/31, so before she was imprisoned,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1986.59,
    "end": 1992.51,
    "text": "love letters that she wrote to Alexander Tudor-Hart and where he has still been in his first marriage and",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1992.51,
    "end": 1996.75,
    "text": "she has been like very unhappy about the fact that they could not officially be together.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 1996.97,
    "end": 2000.15,
    "text": "And she has been talking about marriage and wanting children with him.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2000.39,
    "end": 2005.89,
    "text": "And when he finally made that move, got divorced and then 1933 basically married",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2005.89,
    "end": 2009.09,
    "text": "her and saved her to be able to become a British citizen.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2009.09,
    "end": 2016.67,
    "text": "But there's no trace or no documents about her talking about that imprisonment.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2017.82,
    "end": 2021.9,
    "text": "There's one photograph showing \"Hakenkreuze im Schatten.\"",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2022.32,
    "end": 2028.6,
    "text": "It shows the political change. And there is photographs showing barricades on",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2028.6,
    "end": 2034.38,
    "text": "the Operngasse or one showing arrests where she basically has tried to document",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2034.38,
    "end": 2036.26,
    "text": "what was going on in the city.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2036.62,
    "end": 2039.48,
    "text": "And those are from 1932 and 1933.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2040.06,
    "end": 2045.6,
    "text": "But just a few rare examples showing those political turmoils at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2046.46,
    "end": 2051.72,
    "text": "Unfortunately, her father, Wilhelm Suschitzky, once the National Socialists",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2051.72,
    "end": 2057.46,
    "text": "took over or the Social Democratic Parliament was slowly dismantled, he committed suicide.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2057.9,
    "end": 2061.72,
    "text": "And her mother stayed in Austria until 1938.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2062.76,
    "end": 2068.82,
    "text": "And there is traces of Edith being able to get her to England via Belgium.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2068.82,
    "end": 2073.34,
    "text": "So there is a document stating that Edith traveled to Brussels.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2073.34,
    "end": 2077.46,
    "text": "There are a few photographs of streets in Brussels as well in her estate.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2077.84,
    "end": 2082.72,
    "text": "And I don't know how her mother managed to get from Vienna to Brussels,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2082.72,
    "end": 2090.06,
    "text": "but she was able to then take her mother, Adele, with her, who then lived with Edith for a long time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2090.38,
    "end": 2095.26,
    "text": "And later also when Edith stopped her career as a photographer in the 1950s",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2095.26,
    "end": 2098.38,
    "text": "and settled in Brighton, that's where she lived with her mother.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2100.04,
    "end": 2103.88,
    "text": "The astonishing fact about her photographic career, that she was still able",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2103.88,
    "end": 2108.76,
    "text": "after immigration to establish quite a successful career as a photographer in London.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2109.04,
    "end": 2114.9,
    "text": "So she moved to London with Alexander and she started a studio in Haverstock",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2114.9,
    "end": 2120.7,
    "text": "Hills or Hampstead, quite close to where the Isokon building was built.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2120.7,
    "end": 2125.8,
    "text": "Through her sister-in-law, Beatrix Tudor-Hart, who was good friends with Jack",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2125.8,
    "end": 2130.3,
    "text": "and Molly Pritchard, she got connection to the Pritchard family.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2130.52,
    "end": 2135.08,
    "text": "And in her estate, there is a photo shooting of the family with their kids,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2135.32,
    "end": 2137.8,
    "text": "so basically a commercial of the work that she did.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2137.8,
    "end": 2145.28,
    "text": "And then Jack Richard, who built the Isokon Flats or Lawn Road Flats at that time,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2145.8,
    "end": 2151.98,
    "text": "modernist building complex in North London, asked her to take photos of the",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2151.98,
    "end": 2157.02,
    "text": "building process and of the opening party in 1934.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2157.68,
    "end": 2159.72,
    "text": "So she documented that for a year.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2161.38,
    "end": 2165.6,
    "text": "A white, modern apartment block in a quiet London neighbourhood may seem like",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2165.6,
    "end": 2169.9,
    "text": "a side note at first, but Lawn Road Flats, also known as Isokon Flats,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2170.06,
    "end": 2173.02,
    "text": "became one of the key addresses for the Bauhaus in exile.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2173.58,
    "end": 2176.84,
    "text": "The apartment building was commissioned by Jack and Molly Pritchard.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2177.26,
    "end": 2182.02,
    "text": "Jack was a furniture entrepreneur, Molly a psychiatrist, and far more than a",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2182.02,
    "end": 2183.48,
    "text": "secondary figure in the project.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2183.86,
    "end": 2187.64,
    "text": "She played a crucial role in shaping the concept of Lawn Road Flats,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2187.64,
    "end": 2189.64,
    "text": "drawing up the brief for the architect.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2190.1,
    "end": 2195.7,
    "text": "It was based on the idea of the Minimum Flat, compact modern living spaces designed",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2195.7,
    "end": 2200.24,
    "text": "for mobile professionals with few possessions and little need for traditional",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2200.24,
    "end": 2201.38,
    "text": "domestic arrangements.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2201.86,
    "end": 2206.24,
    "text": "The ambition was clear. The Pritchards wanted a building that spoke the language",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2206.24,
    "end": 2207.72,
    "text": "of contemporary modernism.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2208.64,
    "end": 2213.32,
    "text": "Wells Coates, the Canadian architect they chose, had not yet built a house before.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2213.84,
    "end": 2218.52,
    "text": "Before beginning his design on Lawn Road Flats, he traveled with Jack Pritchard",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2218.52,
    "end": 2222.6,
    "text": "and Serge Chermayeff, a Russian-born British architect, to Germany,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2222.9,
    "end": 2225.34,
    "text": "and visited modern buildings in Dessau and Berlin.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2225.74,
    "end": 2230.88,
    "text": "When he returned, he immediately developed a design that clearly echoed several Bauhaus buildings.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2231.2,
    "end": 2235.3,
    "text": "And, to be honest, it really looks like a mash-up of the Bauhaus building in",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2235.3,
    "end": 2241.02,
    "text": "Dessau and the Trade Union School in Bernau, but with an individual note that makes it special.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2241.7,
    "end": 2246.78,
    "text": "In her book \"Through a Bauhaus Lens,\" which I love so much, not only because",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2246.78,
    "end": 2250.36,
    "text": "of the content but also because of the book cover that unlocks a glimpse of",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2250.36,
    "end": 2255.04,
    "text": "some visitors on the roof of Isokon Flats through a literal hole––a",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2255.04,
    "end": 2259.6,
    "text": "design that was also used for the first Christmas card of the building, Stefanie",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2259.6,
    "end": 2263.1,
    "text": "Pirker describes in this book the photographic series of Edith Tudor-Hart",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2263.64,
    "end": 2265.04,
    "text": "on the construction of the building.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2265.36,
    "end": 2270.1,
    "text": "She also photographed the many people involved in its creation––concrete",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2270.1,
    "end": 2275.02,
    "text": "workers, plumbers, designers, and admirers that gathered at the inauguration.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2276.24,
    "end": 2279.94,
    "text": "The Isokon Flats soon became important in another sense as well.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2280.38,
    "end": 2284.76,
    "text": "Jack and Molly Pritchard opened the building to architects, artists, and intellectuals",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2284.76,
    "end": 2286.84,
    "text": "who were about to leave continental Europe.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2287.3,
    "end": 2292.02,
    "text": "For many former Bauhaus members, it became a first point of contact in Britain.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2292.44,
    "end": 2298.36,
    "text": "Among them, Walter and Ise Gropius, Marcel Breuer, László and Sibyl Moholy-Nagy",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2298.36,
    "end": 2299.4,
    "text": "and their daughter Hattula.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2299.96,
    "end": 2303.74,
    "text": "Jack Pritchard also offered some of them early work opportunities through his",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2303.74,
    "end": 2305.26,
    "text": "furniture company \"Isokon.\"",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2306.24,
    "end": 2310.58,
    "text": "In this way, the Isokon Flats played a crucial role in the emigration histories",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2310.58,
    "end": 2313.42,
    "text": "of Bauhaus artists and designers who were heading West.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2314.18,
    "end": 2318.42,
    "text": "And for Edith Tudor-Hart, too, Jack Pritchard became an important contact,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2318.88,
    "end": 2323.06,
    "text": "someone who helped open the door to further photographic commissions.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2324.24,
    "end": 2329.32,
    "text": "Through Jack Pritchard, she was then able to get in contact with Richard S.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2329.44,
    "end": 2336.12,
    "text": "Lambert, the editor of \"The Listener,\" where then her first photographs appeared in British newspapers.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2336.5,
    "end": 2342.78,
    "text": "And from there, she slowly made a living as a photographer and documented London.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2343.28,
    "end": 2348.74,
    "text": "She moved with her husband, Alexander, who was working as a doctor in Wales for a little bit in 1935,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2349.28,
    "end": 2355.78,
    "text": "she moved to Wales and documented the living situation there and published photographs",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2355.78,
    "end": 2358.08,
    "text": "in different newspapers and",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2358.08,
    "end": 2364.16,
    "text": "books and mainly with that idea of social change, health, female rights,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2364.52,
    "end": 2367.44,
    "text": "all of that, and was able to make a living.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2369.15,
    "end": 2374.05,
    "text": "So she photographed, for example, the South London Hospital for Women and Children",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2374.05,
    "end": 2379.83,
    "text": "in 1935, together with another emigrated photographer, German photographer, Grete Stern.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2380.43,
    "end": 2385.65,
    "text": "While Grete Stern did not study at the Bauhaus herself, her connection to it is very close.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2385.91,
    "end": 2392.21,
    "text": "In 1927 and 1928, she apprenticed in Walter Peterhans' studio in Berlin. The",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2392.21,
    "end": 2397.13,
    "text": "same Walter Peterhans who would establish the photography class at the Bauhaus in 1929.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2397.13,
    "end": 2402.99,
    "text": "It was also in Peterhans' studio, where Grete Stern met another young and aspiring",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2402.99,
    "end": 2404.87,
    "text": "photographer, Ellen Auerbach.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2405.41,
    "end": 2410.41,
    "text": "Together, they later ran the successful photo and advertising studio \"Ringl+Pit\"",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2410.41,
    "end": 2412.19,
    "text": "in Berlin in the 1930s.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2412.75,
    "end": 2417.83,
    "text": "Their work became known for its wit, visual complexity, and often surrealist",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2417.83,
    "end": 2421.49,
    "text": "humor––qualities that clearly reflect Peterhans' influence.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2422.25,
    "end": 2426.13,
    "text": "The Bauhaus connection continued through their personal relationships as well.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2426.83,
    "end": 2430.81,
    "text": "Stern's later husband, the Argentinian photographer Horacio Coppola,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2431.33,
    "end": 2435.23,
    "text": "studied at the Bauhaus, as did Ellen Auerbach's later husband, Walter Auerbach.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2435.79,
    "end": 2441.83,
    "text": "After a short period in London, Grete Stern and Horacio Coppola emigrated to Argentina for good.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2442.47,
    "end": 2447.13,
    "text": "There, they became leading figures in modern photography. And I promise here",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2447.13,
    "end": 2451.59,
    "text": "and now, one day, there will be an episode of \"bauhaus faces\" about them too.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2451.59,
    "end": 2454.65,
    "text": "But for now, let us return to Stefanie",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2454.65,
    "end": 2458.51,
    "text": "Pirker and to Edith Tudor-Hart's and Grete Stern's joint publication.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 2459.98,
    "end": 2466.58,
    "text": "They documented this fairly new building that was specialized on female and children health.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2466.8,
    "end": 2471.58,
    "text": "So it was run by female doctors and nurses for female patients.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2472.04,
    "end": 2478.04,
    "text": "And she and Grete documented the institution and published this little booklet",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2478.04,
    "end": 2480.5,
    "text": "on female health, which was quite interesting.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2480.74,
    "end": 2486.64,
    "text": "And this red thread of female life and work conditions goes through her work",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2486.64,
    "end": 2492.28,
    "text": "at that time. So there's also that book she did for Margery Spring Rice called",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2492.28,
    "end": 2495.56,
    "text": "\"Working-class Wives: Their Health and Conditions\" from 1939.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2496.2,
    "end": 2502.8,
    "text": "Or another publication she did in the early 40s was called \"Food and the People\" from John Boyd Orr,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2503.3,
    "end": 2509.1,
    "text": "which was all about feeding British society, feeding British children the",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2509.1,
    "end": 2511.44,
    "text": "right way so they could be healthy and prosperous.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2513.26,
    "end": 2518.22,
    "text": "So she had a son with Alexander together. Her son Tommy was born in 1936.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2518.8,
    "end": 2524.68,
    "text": "And then Alexander moved on to be a doctor for the Spanish Civil War.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2525.66,
    "end": 2532.1,
    "text": "And slowly Edith and Alexander kind of moved apart from each other and eventually got a divorce in 1944.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2533.04,
    "end": 2538.18,
    "text": "And Edith at that point then was a single mother looking after her son Tommy.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2538.18,
    "end": 2541.54,
    "text": "There's tons of photographs of young",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2541.54,
    "end": 2544.48,
    "text": "Tommy playing laughing Edith having",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2544.48,
    "end": 2547.52,
    "text": "that quite enlightened progressive attitude as a",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2547.52,
    "end": 2552.36,
    "text": "Montessori kindergarten teacher the way she documented her son and she was using",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2552.36,
    "end": 2559.18,
    "text": "a lot of these basically private material for newspapers articles covers for",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2559.18,
    "end": 2564.62,
    "text": "picture posts. For example there are a couple of photos of Tommy laying on the",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2564.62,
    "end": 2567.26,
    "text": "cover of picture posts which are quite striking.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2567.94,
    "end": 2571.38,
    "text": "And Tommy, at the time, he was diagnosed with schizophrenia.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2571.86,
    "end": 2576.28,
    "text": "From modern perspective, it was probably some form of severe autism.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2576.72,
    "end": 2581.2,
    "text": "And the older he got as a young teenager, Edith wasn't able to look after him",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2581.2,
    "end": 2587.54,
    "text": "anymore. So she was searching for an institution that could look after him and",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2587.54,
    "end": 2590.08,
    "text": "visited institutions all over the UK.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2590.56,
    "end": 2595.62,
    "text": "And one that you worked with closely was the Camphill School movement,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2595.62,
    "end": 2600.28,
    "text": "which was founded by another Austrian emigre, Dr. Karl König.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2600.86,
    "end": 2604.9,
    "text": "And that now international movement, the Camphill School movement,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2604.9,
    "end": 2607.56,
    "text": "was something completely new in the 40s.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2607.74,
    "end": 2611.82,
    "text": "And Edith went there together with her son. And not only was she searching",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2611.82,
    "end": 2613.28,
    "text": "for special care for him,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2613.4,
    "end": 2618.56,
    "text": "but she was also documenting those institutions and publishing it in British",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2618.56,
    "end": 2625.8,
    "text": "newspapers to basically further awareness for British society that children with special needs,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2625.98,
    "end": 2630.14,
    "text": "that there are institutions for them that could help the parents and provide",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2630.14,
    "end": 2631.48,
    "text": "the care that they needed.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2633.11,
    "end": 2636.73,
    "text": "The Camphill School she visited three times and she published an article called",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2636.73,
    "end": 2640.39,
    "text": "\"A School Where Love is a Cure\" in \"Picture Post\" magazine as well.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2640.65,
    "end": 2647.09,
    "text": "So these images show the children in the environment, during music class, outside in the gardens.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2647.45,
    "end": 2652.09,
    "text": "And it is interesting starting to read a little bit about the pedagogic concepts",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2652.09,
    "end": 2656.69,
    "text": "of that school in general, because there are some key concepts of how they want",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2656.69,
    "end": 2660.29,
    "text": "to include the children into learning and growing.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2660.29,
    "end": 2666.37,
    "text": "And aspects like growing their own food, farming is quite important for them as well.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2666.91,
    "end": 2671.47,
    "text": "And Edith tries to illustrate those key components of the educational aspects.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2671.87,
    "end": 2676.33,
    "text": "It's also interesting that coming back to the dancing, so Edith's aunt,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2676.43,
    "end": 2681.53,
    "text": "Olga Suschitzky, had quite a successful dance school in Vienna and her daughters,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2681.71,
    "end": 2686.47,
    "text": "Ruth and Karla, Edith's cousins, were successful dancers in Vienna at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2686.47,
    "end": 2692.45,
    "text": "So she must have known these progressive ideas of body movement and dance in",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2692.45,
    "end": 2694.33,
    "text": "Vienna in the interwar period,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2694.33,
    "end": 2698.89,
    "text": "which she later translates into her photographs when she starts documenting those",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2698.89,
    "end": 2702.13,
    "text": "new modernist dance movements at schools in the UK.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2703.13,
    "end": 2709.19,
    "text": "It's also interesting that Rudolf von Laban, a dance educator who brought a",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2709.19,
    "end": 2713.89,
    "text": "lot of these progressive ideas to the UK, also an emigrated artist.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2714.51,
    "end": 2720.85,
    "text": "There's photos of him, traces of workshops that he did for British teachers in Edith's estate.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2721.11,
    "end": 2727.01,
    "text": "So she must have known Rudolf von Laban and his ideas of dance and movement,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2727.01,
    "end": 2731.49,
    "text": "which were later brought into the British educational system.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2731.49,
    "end": 2736.81,
    "text": "And one of Edith Tudor-Hart's probably biggest projects that she then did in",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2736.81,
    "end": 2746.45,
    "text": "the UK was a two-part syllabus for movement in schools called \"Moving and Growing\" in 1952 and 1953,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2746.45,
    "end": 2752.09,
    "text": "where she illustrates young children at schools and how to dance, how to grow.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2752.83,
    "end": 2759.47,
    "text": "Trying to enhance some freer, less rigid idea of dancing or movement in schools in general.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2760.05,
    "end": 2765.39,
    "text": "I mean, she always came in with the social angle, like the human element was quite important to her.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2765.59,
    "end": 2769.75,
    "text": "She would always document living conditions, people, and their environment.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2769.93,
    "end": 2772.89,
    "text": "She would look them directly into the eye.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2773.01,
    "end": 2777.17,
    "text": "A lot of those photographs are actually quite positive, directly engaging with",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2777.17,
    "end": 2779.53,
    "text": "them and quite close to emotives as well.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2779.69,
    "end": 2782.57,
    "text": "She didn't do some sort of snapshot photography.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2782.81,
    "end": 2786.89,
    "text": "People were aware of having their photograph taken. I would say she was,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2787.05,
    "end": 2791.15,
    "text": "in that sense, probably even like a classic social documentarist in ways,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2791.35,
    "end": 2797.87,
    "text": "but with that political component of aiming for, helping for the better and changing",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2797.87,
    "end": 2800.01,
    "text": "society through her photographic work.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2800.81,
    "end": 2806.97,
    "text": "I would say she was mainly a social documentarist, and that was her main aspect.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2807.43,
    "end": 2812.29,
    "text": "And then there's these small fractions of artistic explorations she did throughout",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2812.29,
    "end": 2815.57,
    "text": "the Bauhaus and her commercial work as well.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2816.99,
    "end": 2822.15,
    "text": "I tried for my PhD thesis to look at all these different facets and aspects",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2822.15,
    "end": 2824.97,
    "text": "of her work. So that's also how I'm structuring it.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2825.57,
    "end": 2829.25,
    "text": "One chapter is looking at her artistic engagement and one is looking at the",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2829.25,
    "end": 2832.93,
    "text": "pedagogic part of her work or the commercial aspects.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2833.29,
    "end": 2840.19,
    "text": "And I just try to enhance how multifaceted she was, that we all in life don't",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2840.19,
    "end": 2841.65,
    "text": "play just one single role.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2841.83,
    "end": 2846.31,
    "text": "We have all these different aspects to us also, artistically, I would say.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2846.31,
    "end": 2850.95,
    "text": "And I just feel like it would be good if people start to understand there's",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2850.95,
    "end": 2857.13,
    "text": "not just \"the spy with a camera\" or just \"the Bauhaus student\" or that she worked",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2857.13,
    "end": 2861.61,
    "text": "in all these different spheres andyeah,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2861.75,
    "end": 2866.99,
    "text": "she was just using her ideas in a very broad transnational sense as",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2866.99,
    "end": 2868.43,
    "text": "an Austrian, as a British national.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2868.43,
    "end": 2871.89,
    "text": "So there are all these different angles that we could have, but I don't think",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2871.89,
    "end": 2876.41,
    "text": "it's helpful just sticking to one angle to try to pin somebody down.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2877.88,
    "end": 2884.08,
    "text": "Edith was a very well-connected person with the left-wing milieu at the time,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2884.08,
    "end": 2887.66,
    "text": "and she knew a lot of these emigrated artists and politicians.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2888.14,
    "end": 2893.88,
    "text": "And I do believe that this narrative of a spy with a camera is a little bit out of proportion.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2894.66,
    "end": 2901.08,
    "text": "She definitely was a political active, radical left-wing photographer, for sure.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2902.04,
    "end": 2908.78,
    "text": "Her MI5 files also state in the 60s, they describe her more as a so-called orthopedic. go between her.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2909.02,
    "end": 2914.52,
    "text": "So somebody that was politically highly aware and knew a lot of people and connected them.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2914.68,
    "end": 2920.34,
    "text": "There is no proper certain proof of her being a spy for Russian intelligence",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2920.34,
    "end": 2923.14,
    "text": "service, but she knew a lot of these people.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2923.36,
    "end": 2928.48,
    "text": "So she knew Arnold Deutsch, she knew Litzi Fieldmann, Kim Philby's wife,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2928.66,
    "end": 2933.88,
    "text": "and she probably connected Kim Philby with Arnold Deutsch, who later then became",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2933.88,
    "end": 2937.48,
    "text": "part of the Cambridge Five, the spy circle in the UK.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2937.68,
    "end": 2942.08,
    "text": "So she has been connected with all these people, but it's difficult to completely",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2942.08,
    "end": 2945.56,
    "text": "be sure what her idea behind it was.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2946.04,
    "end": 2951.96,
    "text": "Yeah, I believe she was an enlightened, progressive, radical photographer at",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2951.96,
    "end": 2955.1,
    "text": "the time, and she's probably aware of a lot of things that she was doing.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2955.38,
    "end": 2959.32,
    "text": "I find it a little bit one-dimensional explaining her as a spy,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2959.32,
    "end": 2964.1,
    "text": "because I don't believe that was her main purpose as a working photographer.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2965.58,
    "end": 2971.78,
    "text": "Being a communist and being so well connected with other politicians and communists in the UK as well.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2971.96,
    "end": 2977.64,
    "text": "I mean, she was basically under surveillance by the British Security Service, the MI5.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2978.06,
    "end": 2984.92,
    "text": "And that happened for basically most of her life. She was overshadowed. Her phone was tapped.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2985.36,
    "end": 2990.54,
    "text": "Yeah, and she was feeling that pressure. And actually quite a lot of nasty documents",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2990.54,
    "end": 2997.88,
    "text": "in her MFI files at the National Archives describing her appearance and the",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2997.88,
    "end": 2999.62,
    "text": "state of her flat and her son.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 2999.82,
    "end": 3003.54,
    "text": "So they have been shadowing her for weeks on end.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3003.72,
    "end": 3010.8,
    "text": "Then 1951, two officers came to her flat and they literally expressed it like",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3010.8,
    "end": 3013.38,
    "text": "that, that tried to penetrate her into her bedroom.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3013.38,
    "end": 3017.52,
    "text": "She was like not well, she was lying in her bed. And they were forcing themselves",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3017.52,
    "end": 3019.78,
    "text": "into her flat to interrogate her.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3019.96,
    "end": 3027.32,
    "text": "So she was having some sort of mental breakdown in the 50s where she felt the pressure.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3027.64,
    "end": 3030.26,
    "text": "She constantly felt like somebody's following her.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3030.6,
    "end": 3034.86,
    "text": "And they suggested to her as well that she should stop taking photographs.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3035.22,
    "end": 3042.2,
    "text": "And she slowly moved into more of a private sphere where she was trying to find",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3042.2,
    "end": 3046.76,
    "text": "better mental health again. and then later moved to Brighton where she became",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3046.76,
    "end": 3049.22,
    "text": "an antiques dealer in the late 50s.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3050.39,
    "end": 3054.05,
    "text": "Some of her letters at the time, she's really trying to search for help,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3054.23,
    "end": 3058.37,
    "text": "where she's moving around a lot. She's unable to stay flats for a bit longer.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3058.75,
    "end": 3065.13,
    "text": "She's even trying to join the church, find some religious ideas of finding peace.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3065.39,
    "end": 3069.25,
    "text": "She's thinking about moving to Israel. So there's all these different ideas",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3069.25,
    "end": 3072.75,
    "text": "of trying to liberate herself from that past.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3072.99,
    "end": 3075.59,
    "text": "So she had quite a dramatic life.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3076.11,
    "end": 3082.91,
    "text": "There is some late examples. There's this story about her destroying some of her photographs, '55,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3083.61,
    "end": 3089.31,
    "text": "which seems to be true, but it's hard to really find out how many negatives",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3089.31,
    "end": 3091.21,
    "text": "were destroyed at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3091.43,
    "end": 3097.67,
    "text": "But there are some later examples where she travelled to France again with her",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3097.67,
    "end": 3100.69,
    "text": "son and she documents the carnival in Nice, for example.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3100.95,
    "end": 3106.29,
    "text": "So in the late 50s, it's becoming less and less important for her own photographic",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3106.29,
    "end": 3111.67,
    "text": "work. But she is still trying to photograph, but probably less with this political",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3111.67,
    "end": 3115.21,
    "text": "or socially radical idea behind her photographs.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3116.69,
    "end": 3122.07,
    "text": "Because of this ongoing surveillance through the British Security Services and",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3122.07,
    "end": 3127.31,
    "text": "her tragic life with being a single mother and a son of special needs,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3127.57,
    "end": 3131.35,
    "text": "needing to focus a bit more on her commercial work as well, which was actually",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3131.35,
    "end": 3132.97,
    "text": "quite successful at that time.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3133.11,
    "end": 3137.39,
    "text": "And then later being pressed into not being a photographer anymore in the 50s",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3137.39,
    "end": 3142.97,
    "text": "basically meant that she never got as famous as she could have been during her lifetime.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3142.97,
    "end": 3148.19,
    "text": "She passed away in '73 and only in the 80s her work became better known again",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3148.19,
    "end": 3152.77,
    "text": "when her brother published a book on her and Robert Redford published an article",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3152.77,
    "end": 3156.11,
    "text": "in \"Camera Work\" about her early Viennese photographs.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3156.11,
    "end": 3159.15,
    "text": "And then through the shifts of",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3159.15,
    "end": 3162.07,
    "text": "her estate 2012 being brought to",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3162.07,
    "end": 3165.05,
    "text": "the National Galleries in Scotland and Duncan Forbes",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3165.05,
    "end": 3170.21,
    "text": "who was the main curator for the photographic collection there who did a phenomenal",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3170.21,
    "end": 3176.25,
    "text": "presentation of her work that has then been shown in Edinburgh and in Vienna and",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3176.25,
    "end": 3181.47,
    "text": "in Berlin only then her work became more known to the broader public again. So",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3181.47,
    "end": 3184.87,
    "text": "it has been some sort of post-term discovery.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3185.33,
    "end": 3191.59,
    "text": "I believe that it is mainly the fractured aspect of her life and work that slowly",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3191.59,
    "end": 3195.13,
    "text": "shows new facets, new aspects of it.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3195.39,
    "end": 3199.07,
    "text": "And I mean, some of her work has not even been shown to the public before.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3199.37,
    "end": 3203.95,
    "text": "We were lucky at FOTOHOF to discover those boxes, which held a part of her",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3203.95,
    "end": 3207.75,
    "text": "photographs she took in the 40s at the British institutions for children of",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3207.75,
    "end": 3213.35,
    "text": "special needs. So there have been a lot of shifts with her estate and her life as well.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3213.49,
    "end": 3218.43,
    "text": "And I think those shifts slowly allowed people to, you know,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3218.95,
    "end": 3220.67,
    "text": "research more and find out more.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3221.99,
    "end": 3227.71,
    "text": "Yes, I think the last years have shown, there have been some really good publications coming out.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3227.91,
    "end": 3233.21,
    "text": "Daria Santini did a big biography on her and there was by Museum Etc, there",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3233.21,
    "end": 3236.01,
    "text": "was this academic reader that has been done a couple of years ago.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3236.25,
    "end": 3239.75,
    "text": "So I think people are starting to see her in a broader sense.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3240.33,
    "end": 3248.09,
    "text": "I truly believe that there has been this focus on poverty studies and all the",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3248.09,
    "end": 3250.61,
    "text": "grim aspects of Viennese society.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3250.61,
    "end": 3253.65,
    "text": "Also UK in the 30s but looking",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3253.65,
    "end": 3256.65,
    "text": "at the whole body of her work I'm sometimes",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3256.65,
    "end": 3259.39,
    "text": "astonished how positive some of it is some of",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3259.39,
    "end": 3262.53,
    "text": "those photographs are so full of life especially when",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3262.53,
    "end": 3266.43,
    "text": "she works with children and sees them as the next generation really wants to",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3266.43,
    "end": 3270.75,
    "text": "enhance where they're going into she wants a better future for these people",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3270.75,
    "end": 3277.35,
    "text": "so I just would like people to understand also the positivity of her oeuvre",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3277.35,
    "end": 3282.41,
    "text": "and that she wasn't just depressing street photography that she did in Vienna and London,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3282.57,
    "end": 3287.03,
    "text": "but also keeping that positive spirit when she was working, especially with children.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3288.65,
    "end": 3293.13,
    "text": "I took a long time to understand who she really is. And we try to pin somebody",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3293.13,
    "end": 3295.73,
    "text": "down or paint a picture of somebody.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3296.05,
    "end": 3300.93,
    "text": "And it's just difficult to see more of a holistic idea of somebody.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3301.13,
    "end": 3305.29,
    "text": "And I think if you connect her again to the Bauhaus and the principles that",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3305.29,
    "end": 3308.85,
    "text": "were taught there, I feel like I enjoy the playfulness of it all.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3309.17,
    "end": 3313.71,
    "text": "The experimental approach of not having to be forced into one direction.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3314.47,
    "end": 3319.05,
    "text": "There's just a few examples of self-portraits. And beforehand there were only",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3319.05,
    "end": 3322.19,
    "text": "those like her smoking a cigarette looking quite serious.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3322.77,
    "end": 3325.81,
    "text": "But actually there are a lot of lovely photos of her playing",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3325.81,
    "end": 3330.87,
    "text": "with her son and laughing and sunbathing and all these ideas of free body movement",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3330.87,
    "end": 3336.27,
    "text": "that was also part of her social democratic upbringing in Vienna and the interval",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3336.27,
    "end": 3341.57,
    "text": "years translated into her life in the UK where she published in magazines like",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3341.57,
    "end": 3343.07,
    "text": "\"Sunbathing Review,\" for example.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3343.07,
    "end": 3347.65,
    "text": "So I think, yeah, all this positivity and a more of a free approach,",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3347.65,
    "end": 3349.73,
    "text": "that's something I'm particularly drawn to.",
    "speaker_id": "Stefanie Pirker"
  },
  {
    "start": 3351.27,
    "end": 3355.85,
    "text": "And this brings us back to the question we started with. What do we see when",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3355.85,
    "end": 3358.53,
    "text": "we start looking at Edith Tudor-Hart's work and life?",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3359.15,
    "end": 3364.59,
    "text": "We see a photographer who moved through some of the most urgent social questions of her time.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3365.07,
    "end": 3369.61,
    "text": "Poverty, housing, health, children's welfare, women's lives,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3370.13,
    "end": 3371.59,
    "text": "education and migration.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3372.55,
    "end": 3376.95,
    "text": "We see an artist who understood photography not only as a medium of observation,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3376.95,
    "end": 3378.93,
    "text": "but as a tool of argument.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3378.93,
    "end": 3384.49,
    "text": "A way to make social realities and inequalities visible and to invite,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3384.71,
    "end": 3388.45,
    "text": "or perhaps even insist on, a more attentive way of seeing.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3389.07,
    "end": 3394.13,
    "text": "And maybe that is the real point. The spy with a camera may be more marketable,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3394.31,
    "end": 3398.09,
    "text": "but the photographer with a political eye, a social conscience,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3398.45,
    "end": 3400.97,
    "text": "and a Bauhaus-trained sense for form and composition,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3401.35,
    "end": 3404.73,
    "text": "that is the Edith Tudor-Hart who deserves all the more attention.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3405.25,
    "end": 3409.99,
    "text": "The political networks, the secrecy and the Cold War afterlife of her biography",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3409.99,
    "end": 3412.23,
    "text": "are part of her story, of course.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3412.97,
    "end": 3419.51,
    "text": "Maybe that is what makes Edith Tudor-Hart so fascinating. She does not fit neatly into just one category.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3419.87,
    "end": 3423.59,
    "text": "And perhaps she was also someone whose camera was never innocent,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3423.99,
    "end": 3427.17,
    "text": "not because it was secretive, but because it had purpose.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3428.53,
    "end": 3432.65,
    "text": "A huge thank you goes out to Stefanie Pirker for sharing her research,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3432.79,
    "end": 3434.55,
    "text": "her insights, and her time with us.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3434.97,
    "end": 3439.63,
    "text": "As always, you can find images, links and more information about this episode",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3439.63,
    "end": 3442.71,
    "text": "in the show notes and in the chapter images of this episode.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3443.09,
    "end": 3448.49,
    "text": "And if this episode made you see Edith Tudor-Hart or Bauhaus photography a",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3448.49,
    "end": 3454.05,
    "text": "little differently, please subscribe to \"bauhaus faces\" on Apple Podcasts, Spotify, or YouTube,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3454.41,
    "end": 3456.23,
    "text": "leave a five-star review, give",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3456.23,
    "end": 3460.01,
    "text": "the episode a thumbs up, follow the \"bauhaus faces\" podcast on Instagram,",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3460.35,
    "end": 3465.21,
    "text": "subscribe to the podcast newsletter on bauhausfaces.com or recommend it to someone",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3465.21,
    "end": 3470.89,
    "text": "who loves photography, the Bauhaus, or complex women with excellent composition skills.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3471.31,
    "end": 3473.15,
    "text": "Thank you so much for listening.",
    "speaker_id": "Anja Guttenberger"
  },
  {
    "start": 3473.83,
    "end": 3480.83,
    "text": "And now there's nothing left to say, but tune in next time for a new episode of \"bauhaus faces\".",
    "speaker_id": "Anja Guttenberger"
  }
]