man Police Commissioner, Joseph Zorgiebel. Heartfield gives the viewer a terrifying stare, which almost turns comedic due to the bloodless beheading of Zorgiebel. One interesting aspect of this photomontage is that Heartfield includes himself in it. He holds a large pair of scissors and is pasted next to the overweight, balding Commissioner, whose head is attached by a mere thread. Zorgiebel face is reminiscent of the stoics of ancient Greece, as if he had been sedated for this procedure. Heartfield holds Zorgiebel's in his fingers as if it were a piece of paper, which is actually what he is doing (Danto, 918).Not only is there a juxtaposition of images in Heartfield's photomontage, but there is also a juxtaposition of text with the finished image. The juxtaposition of the images is a very powerful tool to artists. With the addition of the text, the images become so much more powerful, because it allows the artist to tell the viewers the way that the artist had intended the work to be interpreted. The text that appeared with this work was: How One Wages War with a Scissors. This text has multiple meanings in relation to this photomontage. It shows the power of art as a tool of revolutionary politics. Also, it is a direct attack on the established German government. Another meaning may be a possibly a personal war that Heartfield wants to wage with Zorgiebel. But, most likely, Zorgiebel is only a representation of the government as a whole. It is the system on which Heartfield is waging war. He shows that learning that which is going on around you is the first step to waging war instead of rushing into the violent aspect of war.How One Wages War with a Scissors is not only powerful because it exploits a member of the ruling class, but also because this image would have been impossible to create without the invention of the photomontage medium, which consequently, Heartfield said that he and Grosz created in 1919 (Danto, 91...
