Collage : the making of modern art
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Copy number Shelfmark Shelf mark R011418 Ned. Fotomuseum $KUNST TAYLOR.B 2004
TitleCollage : the making of modern art
Author
Photographer
Place of publicationLondon
PublisherThames & Hudson
Year of publication2004
Pagination224
IllustrationsZwart-Wit en kleur
DimensionsA4
MaterialAnthologie
Document TypeBook
ISBN0-500-238162
Bibliographic Noteshc; bibliography;
SubjectKunst met fotografie, Constructivisme, Fotografische collage, Politiek en fotografie, Surrealisme en fotografie, Dada en fotografie
Abstract
Contents :
1. Inventing Collage :
1.1 Braque and Picasso ;
1.2 Picasso, bricoleur ;
1.3 The Collage Diaspora: Severini, Gris and beyond ;
2. Paths to Construction :
2.1 Paris: In the boulevard Raspail ;
2.2 Sdvig and Za-um: Moscow and St Petersburg ;
2.3 Constructivism: Rodchenko and Klutsis ;
3. Dada Dialectics :
3.1 Zurich Collage: Hans Arp ;
3.2 Berlin: Towards the International Dada Fair ;
3.3 Enter Kurt Schwitters ;
3.4 The World of Hannah Hoch ;
4. Legacies of the Dada Mind :
4.1 Dada in Cologne: Ernst and Baargeld ;
4.2 Max Ernst and Collage in Surrealist Paris ;
4.3 Dada into Constructivism ;
5. The Surrealist Years :
5.1 The Tension between Matter and Text ;
5.2 The Galerie Goemans Exhibition ;
5.3 Joan Miro and Painting ;
5.4 Surrealism in Prague: Toyen, Styrsky, Teige ;
5.5 British Surrealism: Penrose, Nash, Agar ;
6. The Political and the Personal: the 1930s :
6.1 Large-scale Exhibitions ;
6.2 The dialectical problems of form': John Heartfield ;
6.3 The Private Archive ;
6.4 Montage as Resistance: Hoch, Baumeister, Nash ;
7. New York Conversations :
7.1 Peggy Guggenheim and Robert Motherwell ;
7.2 Clement Greenberg's Modernism ;
7.3 Krasner/Pollock ;
8. California Collage :
8.1 Beginnings of Assemblage: Spohn and Berman ;
8.2 The San Francisco Scene: Duncan, Jess, Hedrick and Herms ;
8.3 'Beat' Constructivism: Bruce Conner and Ed Kienholz ;
9. Later Surrealism :
9.1 Post-War Paris: Jacques Prevert and Co. ;
9.2 Surrealism in the Independent Group: Paolozzi and Henderson ;
9.3 The Non-Aristotelians: John McHale ;
9.4 Collage into Sculpture: Paolozzi ;
10. The Critique of Cities :
10.1 Collage and decoltage in Rome ;
10.2 Decollage in Paris: Hains and Villegle ;
10.3 The Mood in New York: Rauschenberg ;
10.4 Paris: the later 1950s ;
10.5 London: The Moment of 'Pop' ;
11. Collage in the Counter-culture: the 1960s :
11.1 Vernacular Glances: Paris, London and New York ;
11.2 West Coast Endings: Conner, Herms and Hopper ;
11.3 Jiri Kolar and the Prague School ;
11.4 The Spirit of Play: Architectural Collage ;
12. Collage after Collage :
12.1 Late Flowerings ;
12.2 Political Montage: the 1970s ;
12.3 'Post-modernist' Collage ;
12.4 Digital Structure;
Notes ;
Bibliography ;
Index.
1. Inventing Collage :
1.1 Braque and Picasso ;
1.2 Picasso, bricoleur ;
1.3 The Collage Diaspora: Severini, Gris and beyond ;
2. Paths to Construction :
2.1 Paris: In the boulevard Raspail ;
2.2 Sdvig and Za-um: Moscow and St Petersburg ;
2.3 Constructivism: Rodchenko and Klutsis ;
3. Dada Dialectics :
3.1 Zurich Collage: Hans Arp ;
3.2 Berlin: Towards the International Dada Fair ;
3.3 Enter Kurt Schwitters ;
3.4 The World of Hannah Hoch ;
4. Legacies of the Dada Mind :
4.1 Dada in Cologne: Ernst and Baargeld ;
4.2 Max Ernst and Collage in Surrealist Paris ;
4.3 Dada into Constructivism ;
5. The Surrealist Years :
5.1 The Tension between Matter and Text ;
5.2 The Galerie Goemans Exhibition ;
5.3 Joan Miro and Painting ;
5.4 Surrealism in Prague: Toyen, Styrsky, Teige ;
5.5 British Surrealism: Penrose, Nash, Agar ;
6. The Political and the Personal: the 1930s :
6.1 Large-scale Exhibitions ;
6.2 The dialectical problems of form': John Heartfield ;
6.3 The Private Archive ;
6.4 Montage as Resistance: Hoch, Baumeister, Nash ;
7. New York Conversations :
7.1 Peggy Guggenheim and Robert Motherwell ;
7.2 Clement Greenberg's Modernism ;
7.3 Krasner/Pollock ;
8. California Collage :
8.1 Beginnings of Assemblage: Spohn and Berman ;
8.2 The San Francisco Scene: Duncan, Jess, Hedrick and Herms ;
8.3 'Beat' Constructivism: Bruce Conner and Ed Kienholz ;
9. Later Surrealism :
9.1 Post-War Paris: Jacques Prevert and Co. ;
9.2 Surrealism in the Independent Group: Paolozzi and Henderson ;
9.3 The Non-Aristotelians: John McHale ;
9.4 Collage into Sculpture: Paolozzi ;
10. The Critique of Cities :
10.1 Collage and decoltage in Rome ;
10.2 Decollage in Paris: Hains and Villegle ;
10.3 The Mood in New York: Rauschenberg ;
10.4 Paris: the later 1950s ;
10.5 London: The Moment of 'Pop' ;
11. Collage in the Counter-culture: the 1960s :
11.1 Vernacular Glances: Paris, London and New York ;
11.2 West Coast Endings: Conner, Herms and Hopper ;
11.3 Jiri Kolar and the Prague School ;
11.4 The Spirit of Play: Architectural Collage ;
12. Collage after Collage :
12.1 Late Flowerings ;
12.2 Political Montage: the 1970s ;
12.3 'Post-modernist' Collage ;
12.4 Digital Structure;
Notes ;
Bibliography ;
Index.
| Copy number | R011418 |
| Institution name | |
| Shelf mark | $KUNST TAYLOR.B 2004 |