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Producing and Displaying Grief

Under Khrushchev, Baltermants returned to his wartime archive and produced art photographs for exhibition of some of his best work that he had taken during the war for publications. This chapter describes the process by which he produced Grief. This photograph, named for an emotion of the living, became a defining image of the Soviet experience of war. Given the horrors the photograph depicts, Baltermants hoped that it might also be used to position the Soviet Union as the global advocate for world peace. To that end, Baltermants curated his solo exhibitions, first in Moscow and then in London, in which he explored the tension between the commonalities of human experience and the differences in the wartime experience of the Soviet people. The chapter shows how in the 1960s, Baltermants made Grief both a powerful photograph and a useful weapon in Soviet cultural diplomacy during the Cold War.