The Art of Assemblage
by
Introduction -- The liberation of words : Stephane Mallarme ; Guillaume Apollinaire ; Filippo Tommaso Marinetti ; Andre Gide -- The liberation of objects : Picasso, Braque, and Gris ; Futurism ; Dada and neo-Dada ; Surrealism -- The collage environment -- The realism and poetry of assemblage -- Attitudes and issues -- Notes -- Lenders to the exhibition -- Catalogue to the exhibition -- Assemblage : a working bibliography.
Assemblage, Environments & Happenings
by
With a selection of scenarios by: 9 Japanese of the Gutai Group, Jean-Jacques Lebel [and others].
Louise Nevelson: Assemblages 1973–1986
Noah Purifoy: Junk Dada
by
Created mostly from found objects, his neo-Dadaist sculpture both embodies and reflects the environment in which it was created - whether the burnt ruins of the 1966 Watts Riots or the unforgiving climate of the Mojave Desert. This book follows Purifoy's remarkable life and career, during which he transitioned from high-end furniture designer to assemblage artist, social worker, arts administrator and finally creator of a desert art museum.
Book of Ruth
by
Lee Bontecou
by
Artist Lee Bontecou (b. 1931) became widely known in the 1960s and 1970s for her welded steel sculptures and plastic molded assemblages--powerful constructions that evoked natural phenomena and organic biological life as well as machines and instruments of war. This book reevaluates the career of this highly influential artist and focuses not only upon the impact of her early work but also on the import she has exerted on a generation of younger artists.
Joseph Had a Little Overcoat
by
Hush! A Thai Lullaby
by
Sparkle and Spin
by
Through harmony and rhythm, resonance and pitch, Ann Rand inspires readers to listen to the tuneful play of her text as it sings off each page. Illustrated with graphic designer Paul Rand's colorful, witty artwork,Sparkle and Spin is a children's classic.
The Very Hungry Caterpillar
by
The Snowy Day
by
Tar Beach
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Tar Beach is a work of modern art translated into a children's picture book. The painted scene in the center of the quilt shows a Harlem rooftop on a starry night with four adults playing cards and with Cassie Louise Lightfoot and her brother, Be Be, lying on a blanket gazing at the sky. Cassie sees herself flying over the city lights; dreams of wearing the George Washington Bridge as a necklace; imagines giving her father the union building he is not allowed to join because of his half-black, half-Indian heritage; flies over the ice cream factory; and takes her little brother with her to the sky.
The Scrambled States of America
by
Swimmy
by
Eating the Alphabet
by
The Age of Collage
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Spontaneous, irreverent, personal. Collage fits more perfectly into our current age than almost any other artistic technique. The technique of collage fits perfectly into our current age. Raw visual material is collected by an artist and then combined in such a way as to abstract the individual elements enough that the artist's own vision becomes prominent. Because collage's references range from other artistic works and techniques to scientific images, pop culture, and erotica, these raw materials reflect humanity's collective visual memory and context.
The Age of Collage Vol. 2
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A comprehensive collection of examples ranging from subversive to museum-worthy, this striking showcase positions collage between provocation and commerce. Presenting the work of more than 70 collage artists--from established names including John Baldessari and Richard Prince to up-and-coming talents such as Lola Dupré and Mat Maitland.
Collage: Assembling Contemporary Art
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Collage : diversions, contradictions and anomalies / Sally O'Reilly -- A conversation with John Stezaker / David Lilington -- Where does one thing end and the next begin? / Ian Monroe -- Construction/abstraction -- Surrealism/fantasy -- Popular culture/mass media -- Body/identity-- Environment/geographies.
Collage: The Making of Modern Art
by
Inventing collage -- Paths to construction -- Dada dialectics -- Legacies of the Dada mind -- The surrealist years -- The political and the personal: the 1930s -- New York conversations -- California collage -- Later surrealism -- The critique of cities -- Collage in the counter-culture: the 1960s -- Collage after collage.
Collage: the Unmonumental Picture
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The simplicity of collage, together with its strong graphic presence, lent the medium a sense of revolutionary possibility when it was first adopted by avant-garde artists almost 100 years ago. During the twentieth century collage gradually became identified with such artistic practices as Cubism, Dada and Surrealism, and today it has gained new momentum as an energetic art form with a strong political dimension. This stunning book explores the role of collage in contemporary visual culture.
Cutting Edges: Contemporary Collage
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Collage has an outstanding tradition in the modern visual arts. Influenced by surrealism and Dada as well as constructivism, the technique was firmly established as an art form in the 1920s and 1930s through the work of artists such as John Heartfield, El Lissitzky, and Hannah Hoch. Today, a new generation of young artists and illustrators is rediscovering collage. Cutting Edges is a collection of current artistic work that unites unrelated elements to create something new. Although the artists also use the computer for the purpose of montage, most of the featured collages are made by hand and often include found objects.
Ray Johnson: How Sad I Am Today
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Catalogue of an exhibition held at the Morris and Helen Belkin Art Gallery.
Includes bibliographical references.
Hannah Höch: Album
by
s one of the protagonists of the Berlin Dada movement, Hannah Höch railed against tradition and conservatism in 1920s Germany. Höch and such cohorts as George Grosz and Raoul Hausmann raised anarchic revolution through cutting photomontage, nonsensical performance, and biting visual satire. A singular and important work in the artist's oeuvre is the so-called "Sammelalbum," which she produced and pasted together from found imagery for her own pleasure and use, circa 1933.
A Little Girl Dreams of Taking the Veil / Rêve d'une petite fille qui voulut entrer au Carmel
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A Little Girl Dreams of Taking the Veil was originally published in 1930 as Rêve d'une petite fille qui voulut entrer au Carmel. Its hallucinatory visions center on the nightmares of a girl who loses her virginity on the day of her first communion and resolves to become a nun. Ernst, a pioneer of the Dada movement and Surrealistic art, blends humor and irony in his exploration of the nonrational but very real intersection of religious ecstasy and erotic desire.
Sarah Crowner: Format
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"In Format, Sarah Crowner's first widely distributed artist book, the artist creates a roving collage of source material culled from a diverse range of previously distributed print material: magazines, books, posters, newspapers, postcards, etc. This publication provides a rare insight into the artist's working practice, demonstrating Crowner's concerns with visual formulations hinged on historical investigations, particularly in the overlap of art, writing, fashion, and design. Crowner's graceful positioning of this material gives the reader a spirited visual narrative that unfolds many of our inherited formal mantras of the 20th Century"--Primary Information website.
Martha Rosler: Positions in the Life World
by
Since the late 1960s, American artist Martha Rosler has produced seminal works in the fields of photography, performance, video, installation, critical writing, and theory. Committed to an art that engages a public beyond the confines of the art world, Rosler investigates how socioeconomic realities and political ideologies dominate ordinary life.
Joseph Cornell's Manual of Marvels
by
Joseph Cornell's Manual of marvels introduces one of Joseph Cornell's most brilliant yet least-known works. The 'Untitled book object : Journal d'agriculture pratique et journal de l'agriculture, ' as the work is formally known, is extremely fragile. Our ambition has been to make the entire work accessible.
Mark Bradford
by
Publication accompanies the exhibition, Mark Bradford, at the Wexner Center for the Arts, Ohio State University, May 8-August 15, 2010, Institute of Contemporary Art, Boston, November 19, 2010-March 13, 2011, Museum of Contemporary Art, Chicago, Summer 2011, Dallas Museum of Art, October 16, 2011-January 15, 2012, San Francisco Museum of Modern Art, February 18, 2012-May 20, 2012.
Kurt Schwitters: Color and Collage
by
Best known for his extraordinary abstract collages, Kurt Schwitters is one of the most influential figures of the international avant-garde. This volume emphasizes the significance of colour and light in the artist's work, as well as delving into the relationship between collage and painting.
Wangechi Mutu: a Fantastic Journey
by
This richly illustrated full-color catalog accompanies the first major solo museum exhibition and most comprehensive survey of the artist Wangechi Mutu's work, on view at the Nasher Museum of Art at Duke University from March 21, 2013, through July 21, 2013, before traveling to the Brooklyn Museum. Born in Nairobi, Kenya, in 1972, and now based in Brooklyn, Mutu renders the complex global sensibility of the early twenty-first century through a distinctly hybrid aesthetic. She combines found materials and magazine cutouts with sculpture and painted imagery, sampling from sources and phenomena as diverse as African traditions, international politics, the fashion industry, and science fiction. In her work, Mutu marries poetic symbolism with sociopolitical critique to explore issues of gender, race, war, colonialism, and, particularly, the exoticization of the black female body.
Isa Genzken: Ground Zero
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Published in conjunction with the exhibition "Isa Genzken, Ground Zero" held Apr. 3-May 17, 2008 at Hauser & Wirth, London.
Who Is Sleeping on My Pillow: Mamma Andersson; Jockum Nordström
by
One page / Paolo Colombo -- Three etchings by Karin Mamma Andersson / Anders Krüger -- Interview between Marcel Dzama and Jockum, New York 2004 -- Escape / text by Stig Claesson ; revised by Dan Wolgers.
Marcel Dzama: Puppets, Pawns, and Prophets
by
Greetings from the Dzama Conclave / Deborah Solomon -- Works on paper -- Sculptures -- Paintings -- Collages -- Films -- List of works -- Biography -- Acknowledgments. Catalog of an exhibition held at David Zwirner's 24 Grafton Street space, London, April 6 - May 11, 2013.
William Pope. L: the Friendliest Black Artist in America
by
Foreword / Mark H.C. Bessire, Stuart Horodner, Sara Kellner -- Essays: -- Friendliest black artist in America / Mark H.C. Bessire -- From an old overcoat to workboots and a jockstrap (a 22 year journey of friendship with Pope. L) / Geoffrey Hendricks -- Thunderbird immolation: burning racism / Kristine Stiles -- Limited warranty / Martha Wilson -- In the discomfort zone / C. Carr -- Working and William / Stuart Horodner -- Dialogue: -- Interview with William Pope. L / Lowery Stokes Sims -- Artist's writings -- Bocio, eats notes 200 vol. 2, hole theory (parts four, January 2002) / William Pope. L -- Practices: -- Objects -- Street performances -- Installation/performances.
Torture of Women
by
Robert Motherwell: Early Collages
by
he theorist and the gallerist : Motherwell's early career with Peggy Guggenheim / Susan Davidson -- Motherwell's risk / Brandon Taylor -- Bloodstains and bullet holes : Motherwell, collage, and World War II / Megan M. Fontanella -- Made of paper : Motherwell's materials in the 1940s / Jeffrey Warda.
The Paper Garden: an Artist Begins her Life's Work at 72
by
Raoul Hausmann and Berlin Dada
by
Lance Letscher: Collage
by
The Art of Romare Bearden
by
Romare Bearden : the spaces between / Ruth Fine -- Bearden's musaee imaginaire / Sarah Kennel -- Bearden's dialogue with Africa and the avant-garde / Nnamdi Elleh -- Reading Bearden / Jacqueline Francis -- A refracted image : selected exhibitions and reviews of Bearden's work / Abdul Goler -- Romare Bearden : a chronology / Rocaio Aranda-Alvarado and Sarah Kennel with Carmenita Higginbotham
Dancing at the Louvre: Faith Ringgold's French Collection and Other Story Quilts
by
Designed to accompany a major traveling exhibition of Ringgold's work, Dancing at the Louvre offers a clear overview of her contribution to contemporary art and showcases in dazzling color, for the first time, all of the exquisite story quilts in her celebrated series The French Collection.
Al Loving: Torn Canvas
by
Miriam Schapiro: Shaping the Fragments of Art and Life
by
Art historian Thalia Gouma-Peterson traces the trajectory of Schapiro's career over five decades, from her gestural canvases of the 1950s, to her self-exploratory "Shrines" and geometric abstractions of the 1960s, to her large-scale femmages (feminist-oriented collages of paint and fabric) of the 1970s and 1980s.
Kai Althoff: and Then Leave Me to the Common Swifts
by
A painter and a draftsman, he has experimented since the mid-1990s with combinations of unconventional mediums and exhibition formats to create all-encompassing environments that might include finely detailed drawings, collage, woven textiles, knitted fabric, soft sculpture, paintings, writing, video, fragrance and song.
Fabric Art Collage
by
Covering all of the basic supplies and techniques for creating mixed-media layered collage pieces,
Nick Cave: Epitome
by
Anyone who's ever encountered one of Nick Cave's Soundsuits--whether in a gallery or on the street--can't help but be fascinated with these brightly hued, provocative constructions that function as both costume and sculpture. The most comprehensive survey of the artist's work to date, this large-format volume compiles the fantastic Soundsuits, for which the artist is best known, together with his other sculptural work and related projects in video and live performance. The book chronicles the artist's ingenious use of materials, which began with a Soundsuit constructed entirely from twigs and has since ranged from secondhand rugs and other thrift-store finds to feathers, buttons, beading, and rainbow-dyed synthetic hair.
Gee's Bend: the Architecture of the Quilt
by
Examines the quilting culture of Gee's Bend, a small African-American community in Alabama, presenting photos of many quilts along with several essays by scholars and Gee's Bend quilt artists on such topics as the community's quiltmaking aesthetic, the role of family in the art, and the quiltmaking heritage of five generations of women descended from slave Dinah Miller.
Towards a Theory of Montage: Sergei Eisenstein Selected Works
by
The name of Sergei Eisenstein (1898-1948) is synonymous with the idea of montage, as exemplified in his silent classics such as'The Battleship Potemkin'(1925) and'October'(1927). In the 1930s his style changed, partly to accommodate the arrival of sound, and his ideas on audio-visual counterpoint developed. Between 1937 and 1940 he elaborated his ideas on montage in a series of essays, most of which remained unpublished until after his death and which are published in English for the first time in this volume.
Cut: Film As Found Object in Contemporary Video
by
Cutting through history : found footage in avant-garde filmmaking / Rob Yeo -- The editor / Stefano Basilico -- The failures of fair use and the future of free culture / Lawrence Lessig -- Candice Breitz -- Omer Fast -- Douglas Gordon -- Michael Joaquin Grey -- Pierre Huyghe -- Christian Marclay -- Jennifer and Kevin McCoy -- Paul Pfeiffer.
A Cinema of Poetry: Aesthetics of the Italian Art Film
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Stan Brakhage: Metaphors on Vision
by
First published in 1963 as a special issue of Film Culture, it stands as the major theoretical statement by one of avant-garde cinema's most influential figures, a treatise on mythopoeia and the nature of visual experience written in a style as idiosyncratic as his art. By turns lyrical, technical, and philosophical, this is a collection to be shelved alongside the commentaries of Robert Bresson and Maya Deren, Sergei Eisenstein and Nagisa Oshima.
The Archive Effect: Found Footage and the Audiovisual Experience of History
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The Archive Effect examines the problems of representation inherent in the appropriation of archival film and video footage for historical purposes. Baron analyses the way in which the meanings of archival documents are modified when they are placed in new texts and contexts, constructing the viewer’s experience of and relationship to the past they portray. Rethinking the notion of the archival document in terms of its reception and the spectatorial experiences it generates, she explores the ‘archive effect’ as it is produced across the genres of documentary, mockumentary, experimental, and fiction films.
Collage in Twentieth-Century Art, Literature, and Culture: Joseph Cornell, William Burroughs, Frank O'Hara, and Bob Dylan
by
Emphasizing the diversity of twentieth-century collage practices, Rona Cran's book explores the role that it played in the work of Joseph Cornell, William Burroughs, Frank O'Hara, and Bob Dylan. For all four, collage was an important creative catalyst, employed cathartically, aggressively, and experimentally. Collage's catalytic effect, Cran argues, enabled each to overcome a potentially destabilizing crisis in representation.
Herta Müller: Politics and Aesthetics
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Herta Müller: Politics and Aesthetics explores Müller's writings from different literary, cultural, and historical perspectives. Part 1 features Müller's Nobel lecture, five new collage poems, and an interview with Ernest Wichner, a German-Romanian author who has traveled with her and sheds light on her writing.
Sailing Away from the Night: Poems and Collages
by
Several Gravities
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A Convergence of Birds: Original Fiction and Poetry Inspired by the Work of Joseph Cornell
by
This book is the result of a convergence, which began with the passion of a young writer, Jonathan Safran Foer, for the work of the 20th century American assemblage artist Joseph Cornell. Inspired by Cornell's avian-themed boxes, and suspecting that they would be similarly (and diversely) inspiring to others, Foer began to write letters. The responses he received from luminaries of American writing were nothing short of astounding.
Back in No Time: A Brion Gysin Reader
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Brion Gysin (1916–1986) was a visual artist, historian, novelist, and an experimental poet credited with the discovery of the ‘cut-up'technique -- a collage of texts, not pictures -- which his longtime collaborator William S. Burroughs put to more extensive use. He is also considered one of the early innovators of sound poetry, which he defines as ‘getting poetry back off the page and into performance.'Back in No Time gathers materials from the entire Gysin oeuvre
Wipe That Clock off Your Face
by
Brian Belott's first book is a compendium of all his disparate artistic practices--including collage, drawing, found photography and sound mixing--and it is also his first CD. The original CD/DVD included here offers the acclaimed Found Images, a digital slideshow of over 1000 photos pulled from eBay, with an exclusive full-length soundtrack of original sound collages. Assemblage permeates Belott's methods; he is a master of using cast-off and neglected ephemera to create new and surprising effects.
Sound Unbound: Sampling Digital Music and Culture
by
Sound Unbound is about the remix -- how music, art, and literature have blurred the lines between what an artist can do and what a composer can create. The music that accompanies the book features Nam Jun Paik, the Dada Movement, John Cage, Sonic Youth, and many other examples of avant-garde music.
Making Beats: The Art of Sample-Based Hip-Hop
by
Based on ten years of research among hip-hop producers, Making Beats was the first work of scholarship to explore the goals, methods, and values of a surprisingly insular community. Focusing on a variety of subjects—from hip-hop artists'pedagogical methods to the Afrodiasporic roots of the sampling process to the social significance of “digging” for rare records—Joseph G. Schloss examines the way hip-hop artists have managed to create a form of expression that reflects their creative aspirations, moral beliefs, political values, and cultural realities.
Mashed Up : Music, Technology, and the Rise of Configurable Culture
by
The book suggests the emergence of a new ethic of configurable collectivism; an economic reunion of labor; a renegotiation of the line between public and private; a shift from linear to recursive logic; and a new'DJ consciousness,'in which the margins are becoming the new mainstream. Whether these changes are sudden or gradual, violent or peaceful, will depend on whether we heed the lessons of configurability, or continue to police and punish the growing ranks of the mashed up.
The Photomontages of Hannah Hoch
by
Exhibition organized by the Walker Art Center, Minneapolis, and held Oct. 20, 1996-Feb. 2, 1997 at the Center, Feb. 26-May, 20, 1997 at the Museum of Modern Art, New York, and June 26-Sept. 14, 1997 at the Los Angeles County Museum of Art.
Barbara Morgan: Photomontage
by
Published in cooperation with the International Museum of Photography at George Eastman House.
Penelope Umbrico: Photographs
by
Penelope Umbrico is an artist / photographer best known for appropriating images found using search engines and picture sharing websites
Man Ray: L'immagine Fotografica
by
John Heartfield: Art and Mass Media
by
WWI to late Weimar. Radicalized Bohemia -- Malik, Piscator, Münzenberg -- The tiger montage. The crisis party congress -- Anti-conjuncture -- Swastika stickpin -- Social fascism -- Epochalyptic -- Montage, mimikry. Montage -- Compilation films -- Mimikry -- Recent mimikry -- Simulation.
Photography Is Magic
by
From Michele Abeles and Walead Beshty to Daniel Gordon and Matthew Lipps, Cotton has selected artists who are consciously reframing photographic practices using mixed media, appropriation and a recalibration of analog processes. Cotton brings these artists together around the idea of magic, the properties of illusion and material transformation that uniquely characterize photography.
Robert Heinecken: a Material History
by
Robert Heinecken has amused, educated and often shocked viewers with his pointed, irreverent photographic works. Heinecken's subjects and obsessions--the Vietnam War, pornography, masculinity and femininity, the media marketplace--create avid fans or staunch detractors. His manipulations and iterations of mass-produced imagery are echoed by artists as eclectic as Barbara Kruger, Cindy Sherman, Richard Price and others.
Create and Be Recognized: Photography on the Edge
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Create and Be Recognized is the first survey of a compelling, always surprising art form -- outsider photography. Presented here is the work of seventeen largely self-taught artists who have used photography or photographic elements in their creations. Photomontage / Robert Wilkinson, Steve Ashby, Howard Finster, Rudy Rotter, Joe "40,000" Murphy
The Persistence of Vision: Donald Blumberg, Charles Gill, Robert Heinecken, Ray K. Metzker, Jerry N. Uelsmann, John Wood
by
Prepared on the occasion of the exhibition, 'The persistence of vision,' which opened at the George Eastman House in June of 1967
Bookworm:
by
Noted photographer and collage artist Rosamond Purcell has been exploring this universe for the past thirty years, and in this extraordinarily beautiful collection, the first retrospective of her work, her images teach us to read in a new way. Here are two conjoined volumes transformed by a nesting mouse into a heap of disrupted plot and straw; a 19th century French economics text re-interpreted by foraging termites, and many other oddities from a fertile imagination.
Cameraworks / True to Life
by
A commentary by the "New Yorker" art critic accompanies 117 photographic collages by the celebrated and popular artist, whose work in this medium reflects a synthesis of observation, panorama, and impression
Teleplay: Part 1
by
Catharine Maloney has combined and recorded her interest in men, outer space, and play in her photographic series Teleplay, Part I. The book is filled with playful men, bright-makeshift costumes, and backdrops. Her photographs are helter-skelter constructions, manipulated by hand or crudely on the computer, in order to create a strange place. "Notable for their curiously unsettling shabbiness, Catharine Maloney’s photographs are clearly testament to the author’s laissez faire attitude to perfection and technical mastery. By shooting with a medium format camera, scanning in the film and routinely tinkering with the images in Photoshop, the Texan-born artist then gets prints made cheaply and either draws on them or creates collages. They combine the coarse ingenuity of mixing and layering various media with an ambiguous and uneasy decontextualisation of objects and subjects. Peopling the images, figures can often appear multiple times within the same work, and superimpositions, doublings and reflections are all commonplace. So too are distortions in scale and perspective. All the long-held notions of space and temporality appear to collapse revealing photography’s limits and inherent contradictions." Spiral bound. 15×20 cm. 62 pages
Cut with the Kitchen Knife: the Weimar Photomontages of Hannah Höch
by
1. The Berlin Dada photomontages -- Ch. 2. Mass media, modernism, and the avant-garde -- Ch. 3. Hannah Höch's mass media scrapbook: utopias of the twenties -- Ch. 4. Portraits, dancers, and coquettes: the modern woman in Höch's photomontages, 1923-35 -- Ch. 5. From an ethnographic museum -- Ch. 6. Androgyny and spectatorship
Heartfield Versus Hitler
by
Born in Berlin in 1891, John Heartfield grew up in Germany during the formative years of the main modern movements: Expressionism, Cubism, Futurism, each of which contributed recognisably to the photomontages for which he would become famous. Sharply critical of the Weimar Republic in which he flourished, in Germany his work was banned for the duration of Hitler's Third Reich. In London, where he lived as an anti-Fascist exile throughout the Second World War, he remained an outsider till after his return to East Germany in 1950, It is only since the 1970s that he has become a European, if not a world figure
Utopia/Dystopia: Construction and Destruction in Photography and Collage
by
From the time of its invention, photography has enabled artists not only to capture the world around them but also to create worlds of their own. Utopia/Dystopia investigates how artists from the late 19th century to the present have used photographic fragments or techniques to represent political, social, or cultural states of utopia or dystopia.
Aleksandr Zhitomirsky: Photomontage as a Weapon of World War II and the Cold War
by
The leading Russian propaganda artist Aleksandr Zhitomirsky (1907–1993) made photomontages that were airdropped on German troops during World War II. He later worked for Pravda and other leading publications, satirizing American politics and finance from the Truman through the Reagan eras and educating his public about Egypt, South Africa, Vietnam, and Nicaragua as well.
Aleksandr Rodchenko
by
This book is published to accompany the first major American retrospective of Rodchenko's work, at The Museum of Modern Art, New York, in the summer of 1998. The essays in Aleksandr Rodchenko explore both phases of his career, drawing out the formal ideas that he developed as well as the social and artistic context in which he moved. The book's plate section, reproducing over 300 works carefully selected from collections in Russia and throughout the West, for the first time presents a full and coherent overview of his diverse achievement. An illustrated chronology outlines the story of the artist's life.
Koretsky: The Soviet Photo Poster 1930-1984
by
Viktor Koretsky (1909–1998) was a leading Soviet artist and the acknowledged master of the Soviet photographic poster. With a long and prolific career that spanned the early Stalin era through to the onset of Glasnost, Koretsky produced some of the most memorable images of World War II and the Cold War from the point of view of the USSR.
Found: the Best Lost, Tossed, and Forgotten Items from Around the World
by
Discarded valentines. Ransom notes. To-do lists. Diaries. Homework assignments. A break-up letter written on the back of an airsickness bag. Whether they are found on buses, at stores, in restaurants, waiting rooms, parking lots, or even prison yards, these items give readers an uncensored, poignant, and often hilarious peek into other people's lives.
Scrapbooks: an American History
by
Combining pictures, words, and a wealth of personal ephemera, scrapbook makers preserve on the pages of their books a moment, a day, or a lifetime. Highly subjective and rich in emotional content, the scrapbook is a unique and often quirky form of expression in which a person gathers and arranges meaningful materials to create a personal narrative.
The Scrapbook in American Life
by
Scrapbooks bring pleasure in both the making and consuming - and are one of the most enduring cultural forms. This book explores the history of scrapbook-making, its origins, uses, changing forms, as well as the human agents behind the books themselves.
Playing with Pictures: the Art of Victorian Photocollage
by
This title examines comprehensively the little-known phenomenon of Victorian photocollage, presenting imagery that has rarely - and in many cases, never - been displayed or reproduced.
Forgotten Bookmarks: a Bookseller's Collection of Odd Things lost Between the Pages
by
t's happened to all of us: we're reading a book, something interrupts us, and we grab the closest thing at hand to mark our spot. It could be a train ticket, a letter, an advertisement, a photograph, or a four-leaf clover. Eventually the book finds its way into the world-a library, a flea market, other people's bookshelves, or to a used bookstore. But what becomes of those forgotten bookmarks? What stories could they tell?
Collage Culture: Readymades, Meaning, and the Age of Consumption
by
Chance
by
The chance situation or random event - whether as a strategy or as a subject of investigation - has been central to many artists' practices across a multiplicity of forms, including expressionism, automatism, the readymade, collage, surrealist and conceptual photography, fluxus event scores, film, audio and video, performance, and participatory artworks. But why - a century after Dada and Surrealism's first systematic enquiries - does chance remain a key strategy in artists' investigations into the contemporary world?"
Collage: Critical Views
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Cutting Across Media: Appropriation Art, Interventionist Collage, and Copyright Law
by
Mere and Ease: Collage As a Critical Practice in Pedagogy
by
Guided by the twinned concepts of mereness --collage's reputation as a trifle--and easiness --the technique's accessibility to all--the authors explore how subversive, debased, and effortless the collage gesture can be. What emerges is in and of itself a collage, one that groups disparate scholarship into a whole that reveals how the technique may serve as a method of scholarship and as a wellspring of vibrant, even radical, pedagogical utility.
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