Collage

內容簡介

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"A masterful and lavishly illustrated landmark survey--the first to cover the history of collage in this much depth."--"Library Journal"
From the seminal moment in 1908 when the young Picasso took a piece of brown card pasted with a "Magasins du Louvre" label and converted it into a new kind of picture, collage has been at the heart of modern art. Indeed, in seeking to transform the discarded scraps and residues of everyday life, the technique found extraordinary new opportunities for subversive rupture, playful artifice, and surreal juxtaposition, together with a completely new conception of the work of art as a material thing. Collage quickly became essential to the idea of the modern, leaving its mark on almost every art movement since, from Dada and Constructivism, via Surrealism, Pop, and Situationism, to the digital techniques of today.
This book, the first comprehensive survey of the technique, explores in full the theoretical implications and political messages behind the work of the past century, explaining how the process was intimately linked to other revolutions in art practice. It covers the many offshoots of collage, including assemblage, montage, photomontage, and decollage. Along the way it outlines a new vision of modern art springing from this most simple and democratic of techniques. 206 illustrations, 91 in color.

目錄

Introductionp. 7Inventing Collagep. 11Braque and PicassoPicasso, bricoleurThe Collage Diaspora: Severini, Gris and beyondPaths to Constructionp. 25Paris: In the boulevard RaspailSdvig and Za-um: Moscow and St PetersburgConstructivism: Rodchenko and KlutsisDada Dialecticsp. 37Zurich Collage: Hans ArpBerlin: Towards the International Dada FairEnter Kurt SchwittersThe World of Hannah HochLegacies of the Dada Mindp. 51Dada in Cologne: Ernst and BaargeldMax Ernst and Collage in Surrealist ParisDada into ConstructivismThe Surrealist Yearsp. 67The Tension between Matter and TextThe Galerie Goemans ExhibitionJoan Miro and PaintingSurrealism in Prague: Toyen, Styrsky, TeigeBritish Surrealism: Penrose, Nash, AgarThe Political and the Personal: the 1930sp. 87Large-scale Exhibitions'The dialectical problems of form': John HeartfieldThe Private ArchiveMontage as Resistance: Hoch, Baumeister, NashNew York Conversationsp. 103Peggy Guggenheim and Robert MotherwellClement Greenberg's ModernismKrasner/PollockCalifornia Collagep. 119Beginnings of Assemblage: Spohn and BermanThe San Francisco Scene: Duncan, Jess, Hedrick and Herms'Beat' Constructivism: Bruce Conner and Ed KienholzLater Surrealismp. 131Post-War Paris: Jacques Prevert and Co.Surrealism in the Independent Group: Paolozzi and HendersonThe Non-Aristotelians: John McHaleCollage into Sculpture: PaolozziThe Critique of Citiesp. 145Collage and decollage in RomeDecollage in Paris: Hains and VillegleThe Mood in New York: RauschenbergParis: the later 1950sLondon: The Moment of 'Pop'Collage in the Counter-culture: the 1960sp. 165Vernacular Glances: Paris, London and New YorkWest Coast Endings: Conner, Herms and HopperJiri Kolar and the Prague SchoolThe Spirit of Play: Architectural CollageCollage after Collagep. 195Late FloweringsPolitical Montage: the 1970s'Post-modernist' CollageDigital StructureNotesp. 214Bibliographyp. 219List of illustrationsp. 220Indexp. 223Table of Contents provided by Ingram. All Rights Reserved.