Posts Tagged ‘Max Ernst’

Futurist Collage.

Carlo Carra – Manifesto for intervention, 1914.

www.guggenheim-venice.it  Interventionist Demonstration (Patriotic Holiday-Freeword Painting) (Manifestazione interventista [Festa patriottica-dipinto parolibero]), 1914

http://www.guggenheim-venice.it
Interventionist Demonstration (Patriotic Holiday-Freeword Painting) (Manifestazione interventista [Festa patriottica-dipinto parolibero]), 1914

DADA collage.

“Dadaists set out to Destroy the message that newspapers and magazines tried to get them to believe in; their weapons would be scissors and glue.”

The DADA Berlin members include- Rahul Hausmann, Hannah Hoch, George Grosz and brothers Wieland Herzfelde & John Heartfield.

Hannah Höch, – SCHNITT MIT DEM Kuchenmesser, 1919. {Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919-20}

Hannah Höch, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919-20.

Hannah Höch, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919-20.

Here is a large selection of collages by Hannah Hoch. And a 2014 retrospective covered here in The Guardian.

Hannah Höch was a German Dada artist best known for her work of the Weimar period, when she was one of the originators of photomontage.

MERZ movement.

Kurt Schwitters. (1887-1948).

Kurt Schwitters is acknowledged as the twentieth century’s greatest master of collage. Merz has been called ‘Psychological Collage’. Most of the works attempt to make coherent aesthetic sense of the world around Schwitters, using fragments of found objects. These fragments often make witty allusions to current events. (Merzpicture 29a, Picture with Turning Wheel, 1920. for instance, combines a series of wheels that only turn clockwise, alluding to the general drift Right across Germany after the Spartacus Uprising in January that year, whilst Mai 191(9), alludes to the strikes organized by the Bavarian Workers’ and Soldiers’ Council.)

Kurt Schwitters, Mai 191(9)

Kurt Schwitters, Mai 191(9)

Autobiographical elements also abound; test prints of graphic designs; bus tickets; ephemera given by friends. Later collages would feature proto-pop mass media images. (En Morn, 1947, for instance, has a print of a blonde young girl included, prefiguring the early work of Eduardo Paolzzi and many works seem to have directly influenced Robert Rauschenberg who said after seeing an exhibition of Schwitters’ work at the Sidney Janis Gallery, 1959, that; “I felt like he made it all just for me.”).
He was to use the term Merz for the rest of his career. While these works were usually collages incorporating found objects, such as bus tickets, old wire and fragments of newsprint, Merz also included artist’s periodicals, sculptures, sound poems and what would later be called installations.
Kurt Schwitters experimented with abstract and expressionist painting before becoming involved with the Dada movement, an artistic philosophy based primarily on incongruity, absurdism, and nonsense. Although he associated with the Dadaists and his works shared many similarities to theirs, Schwitters preferred to refer to his own artistic efforts under the separate title “Merz”– a meaningless word Schwitters derived by taking the middle syllable from the German word “kommerzbank” (“commercial bank”)

“What springs to mind when trying to characterize his personality is one word: ‘paradox’.”

The Surrealist Collage. Andre Breton, Dali, Max Ernst, Hans Bellmer, Joan Miro, Yves Tanguy, Paul Eluard, George Hugnet.

Max Ernst, The Chinese Nightingale (1920), photomontage, 8.8 x 12.2 cm.

Max Ernst, The Chinese Nightingale (1920), photomontage, 8.8 x 12.2 cm.

Exquisite Corpse by André Breton, Jacqueline Lamba, Yves Tanguy

Exquisite Corpse by André Breton, Jacqueline Lamba, Yves Tanguy

Paul Eluard | La Petite Mélancolie

Paul Eluard | La Petite Mélancolie

Paul Eluard | La Petite Mélancolie

George Hugnet

George Hugnot, 1936.

George Hugnot, 1936.

Georges Hugnet (11 July 1906 – 26 June 1974), was a French graphic artist. He was also active as a poet, writer, art historian, graphic artist, bookbinding designer, critic and film director. Hugnet was a figure in the Dada movement and Surrealism. He was a prolific producer of collage, a great deal more images and links to videos can be seen via the link here.

And also here.

 

 

Pop Art Collage.

Eduardo Paolozzi. Richard Hamilton.

Paolozzi's I was a Rich Man's Plaything (1947) is considered the first standard bearer of Pop Art and first to display the word "pop".

Paolozzi’s I was a Rich Man’s Plaything (1947) is considered the first standard bearer of Pop Art and first to display the word “pop”.

Richard Hamilton

Assemblage and Combine Paintings.

Wolf Vostell. Robert Rauschenburg.

Wolf Vostell

 

 Signs - Robert Rauschenberg. Collage. 1970. The artist captured the apocalyptic 60s by depicting the oppression of African Americans, the war in Vietnam and so on.

Signs – Robert Rauschenberg. Collage. 1970. The artist captured the apocalyptic 60s by depicting the oppression of African Americans, the war in Vietnam and so on.

Martha Rosler – the grey drape, 2008. More shown here

Martha Rosler - the grey drape

Martha Rosler – the grey drape

 

Hooded Captives, 2004.

Hooded Captives, 2004.

Wangechi Mutu. Links

cancer of the uterus, 2004.

cancer of the uterus, 2004.

Nils Karsten. Links

Hard Position Standing Up Hands Too, 2011 graphite and collage on paper 9 1/2 x 13 inches

Hard Position Standing Up Hands Too, 2011
graphite and collage on paper
9 1/2 x 13 inches

JOHN WHITLOCK. Link

JOHN WHITLOCK Growth Paradox, 2014

JOHN WHITLOCK
Growth Paradox, 2014

John Stezaker.

John Stezaker Mask XIII 2006

John Stezaker Mask XIII 2006

Bobby Neel Adams couples

bobbyneeladams couples

bobby neel adams, couples.

Matthieu Bourel. 2014. Les collages et animations de Matthieu Bourel

les-collages-et-animations-de-matthieu-bourel Yul Brynner

les-collages-et-animations-de-matthieu-bourel
Yul Brynner

Aneta Grzeszykowska and Jan Smaga.

Aneta Grzeszykowska & Jan Smaga 2007

Aneta Grzeszykowska & Jan Smaga 2007

Linder Sterling’s Feminist Punk Collages Tear Up 30 Years Of Bad Advertising.

Linder Sterling's Feminist Punk Collages, 2012.

Linder Sterling’s Feminist Punk Collages, 2012.

In 2010 Lady Gaga shocked the masses when she donned a dress made of raw meat. But the singer was only taking hints from British punk artist Linder Sterling, who debuted the unusual “fabric” in 1982.

Kerstin Stephan. Little Monster

Kerstin Stephan little monster ii

Kerstin Stephan
little monster ii

Astrid Klein. BROKEN HEART II”. 1990-1995.

Astrid Klein. BROKEN HEART II. 1990-1995

Astrid Klein. BROKEN HEART II. 1990-1995

Office Supplies Incorporated. http://officesuppliesincorporated.com

OSI Dancers-Vancouver-Art-Gallery-Install-2

OSI Dancers-Vancouver-Art-Gallery-Install-2

Randy Grskovic. LinkLink.

Randy Grskovic | The Trickle Down Effect | 2012.

Randy Grskovic | The Trickle Down Effect | 2012.

 

randy grskovic, imperium.

randy grskovic, imperium.

I Am Ciara.

The Week End Popshot Magazine

The Week End
Popshot Magazine

 

Bring Back Our Girls

Bring Back Our Girls

Jesse Treece. LinkLink.

JESSE TREECE, EVOLUTION IS COLD

JESSE TREECE,
EVOLUTION IS COLD

Jesse Treece, The Tipping Point.

Jesse Treece,
The Tipping Point.

Jesse Treece is a collage artist living in Seattle whose work screams of the simple, yet ever complex, interpretations of both the mundane and whimsical facets of life. He’s somehow managed to mix both the regular and absurd, beautiful and disturbing and put them into images that you find you could get lost in for hours. His tools of the trade include scissors, glue and vintage magazines/books.

Nicholas Lockyer. http://nicholaslockyer.tumblr.com/archive

leave-me-no-choice-but-to-plot-my-revenge, 2012.

leave-me-no-choice-but-to-plot-my-revenge, 2012.

Max-o-matic.

 

Sarah Eisenlohr.

A selection of beautiful collages from the series “Mapping” by American artist Sarah Eisenlohr, mixing old photos and retro postcards to create stunning landscapes and surreal compositions.

Sarah Eisenlohr, Mapping.

Sarah Eisenlohr, Mapping.

Sarah Eisenlohr, Mapping.

Sarah Eisenlohr, Mapping.

Nathaniel Whitcomb. extracted poetry.

Extracted Poetry
SIMPLIFYING OFTEN REVEALS A CORE, OR IF DILIGENT, A HIDDEN SUBTEXT. IN THIS ONGOING SERIES, UNINTENTIONAL MEANINGS BURIED WITHIN EXISTING NARRATIVES ARE REVEALED, FORMING CONNECTIONS PREVIOUSLY UNNOTICED.

(ALL ARE EXTRACTED FROM NATIONAL GEOGRAPHIC MAGAZINES.)

last words 2013 H leads T, his son, after a day of gathering in the strategic border area, rich in potential. What, I wonder, will become of the so-called primitives? One day, perhaps, I will know. I remember their last words to me, the alien they befriended: “You will have to come back. We want you to live with us.”

last words
2013
H leads T, his son, after a day of gathering in the strategic border area, rich in potential. What, I wonder, will become of the so-called primitives? One day, perhaps, I will know. I remember their last words to me, the alien they befriended: “You will have to come back. We want you to live with us.”

Noa Giniger.

(IL, b. 1977) graduated in 2005 from the Ecole Nationale Supérieure des Beaux-Arts in Paris.

weeping willow the sorrow the joy brings Noa Giniger

the sorrow the joy brings Noa Giniger

Luis Dourado.

uses analogue and digital collage and manipulation to explore themes surrounding control, memory and illusion in his work.

http://www.objects-journal.com/news/article/interview-with-luis-dourado/

Luis Dourado was born in Porto, Portugal in 1984.

3_4

Luis Dourado - ronald reagan

https://www.google.co.uk/search?q=Luis+Dourado+art&safe=off&sa=X&rls=en&biw=888&bih=595&tbm=isch&tbo=u&source=univ&ei=Q9dZVc-eB-iz7gbmiYDwDw&ved=0CC4QsAQ 

Scott Dickson.

http://beautifuldecay.com/2013/01/16/scott-dicksons-hidden-monuments/

Scott Dickson‘s series Moment Monument is a juxtaposition like the artwork. Using vintage postcards as collage material, Dickson obscures the monuments that are the intended subject of the photographs. Using the vintage photos and geometric forms, Dickson relieves the monuments of their narrative and posterity. This allows a second look at the monuments physical context – it’s pedestal, its surrounding, the space it in inhabits. More importantly, though, it encourages a second look at monument’s conceptual context – the meaning of commemoration and memory through sculpture.

Scott Dickson‘s - Moment Monument

Scott Dickson‘s series Moment Monument

 

Mary Lum.

Mary Lum Geometric Collage Art

artist Mary Lum, exploring cities with her camera, uses the images of overlooked spaces she captures as the basis for her colorful geometric collages.

mary lum

Richard Galpin.

This book “Surface to Surface – Richard Galpin” documents the development of Galpin’s work with his unique ‘peeled photograph’ technique – from the early works based on snapshots of London shop signs, to the latest large scale works with New York and Sao Paulo cityscapes. The essay by writer and curator David Thorp contextualises Galpin’s practice within a 20th Century art-historical discourse, exploring the various references in the work to early modernist movements.

R_GAL0214

Surface_to_Surface_2

Surface_to_Surface_4

 

 

Rodrigo Torres.

 

 

 

Gordon Magnin.

 

 

 

Jorge Chamorro.

 

 

 

Joe Castro.

 

Leigh Wells.

 

Sergei Sviatchenko.

 

Justin James Sehorn.

 

Edoardo de Falchi.

 

Harold Diaz

 

Christopher Gideon.

 

Tres Roemer.

 

Andrew Riggins.

 

Isabelle Cordemans.

 

Samuel T. Adams.

 

Mario Zoots.

 

Andrew Lundwall.

 

Cur3es.

 

Beth Hoeckel.

 

Bryan Olson.

 

Jon Legere.

 

Virginia Echeverria.

 

Dominic McGill.

 

 

Neasden Control Centre.

 

John Vincent Aranda.

 

Benjamin Edmiston.

 

Francisca Pageo.

 

Eva Eun-Sil Han.

 

Brian Vu.

 

Ruth van Beek.

 

James Gallagher.

 

Jens Ullrich.

 

Arturo H. Medrano.

 

Katrien De Blauwer.

 

Liam Crockard.

 

Jordan Clark.

 

Tintin Cooper.

 

Valero Doval.

 

Jose Romussi.

 

Brandi Strickland.

 

Hisham Akira Bharoocha.

 

Kent Rogowski.

 

Eugenia Loli.

 

William Crump.

 

Geoff J. Kim.

 

Dennis Busch.

 

Hugo Barros.

 

Philippe Jusforgues.

 

Jesse Draxler.

 

Ashkan Honarvar.

 

Charles Wilkin.

 

John Gall.

 

Dash Snow.

 

Julia Busch.

 

Vanessa Lamounier de Assis.

 

Eli Craven.

 

Beni Bischof.

 

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Proximal Abandonment and imagery sourced from this psychosocial phenomena

(my 2011 Foundation Dip Fine Art project)

http://www.slideshare.net/judasPritch/ian-pritchard-fmp-presentation-0611

 

 

Things That Should Happen But Do Not - I. Pritchard, 2011

Things That Should Happen But Do Not – I. Pritchard, 2011

"I Am Someone Too" - I. Pritchard, 2011

“I Am Someone Too” – I. Pritchard, 2011

"You've Fallen For The Monkey Trap" - I. Pritchard, 2011

“You’ve Fallen For The Monkey Trap” – I. Pritchard, 2011

My pathway stage focused mainly within areas of using art as social commentary, which I feel, reflects my strongest viewpoints.

I enjoyed producing a series of works based on the word ‘Aspiration’ which included my own slant on the word using various socio-political sources to inform the work.

  • From having produced work in this area I now intend to go on to make a more in depth investigation to produce works based on the psychosocial phenomenon of abuse known as ‘Proximal Abandonment’.
  • Research shows that emotional unavailability towards our children or closest dependents equates to ‘Proximal Abandonment’.
    There is physical presence, but emotional abandonment from the parent figure,
    they are physically present but non-interactive with their dependents.
  • I would like to equate this phenomenon and apply this notion with substituting our politicians or those in a position of power or trust as my subject matter.
  • I use the language of Art to symbolically convey my ideas, views and feelings on these issues.
Influences, Research, Sources and Ideas
  • In order to begin my assignment I intend to gather research, produce mind maps and gather ideas from a variety of artists and designers, that I find influential such as;
    Andy Warhol, Terry Setch, Max Ernst, Jamie Reid and Banksy.
  • I particularly like the way in which these artists subvert imagery and use juxtaposition to convey a message, and how by using a mixed media approach pleasing unexpected results may be obtained.
  • I feel my work could be influenced further by researching;
    newspaper articles, museum and gallery visits, blogs, libraries,
    psychological experiments, case studies, Facebook forum discussions and internet sources.
  • Initially, Warhol’s ‘Mao, 1973’ is a work I feel I can utilize in particular, in addition to found objects, my responses to journalism, advertising and consumerism giving me potential ideas to develop, through photography, collage, mixed media and drawing.
  • Further reading: “Psychiatric Tales” a graphic artist’s battle against depression/anxiety and his work in mental health care. BBC R4 interview – All In The Mind, 25th May 2011. Excellent interview.
The Science bit
  • Pioneering child psychologist D.W Winnicott said that fundamentally two things can go wrong in early child development;
  1. a) when things happen that should not happen.
  2. b) when things that should happen do not.
  • The first category is the traumatic abusive and abandonment experience suffered for example, by children of addicts.
  • The second category is the lack of presence of the emotionally available parent or primary carer – just not being available due to societies stresses, short term priorities, and so on
    – affecting the parenting environment.
    Psychologist Allan N Schore called this “Proximal Abandonment” – when the parent is physically present but emotionally absent.
  • I have entitled the first of the three of my chosen final artworks based on Winnicott’s second fundamental principle.
Some influences

Fay Godwin – book “our forbidden land”

  • The British landscape is under threat moreso than ever before from government policies: industry,agri-business and powerful interests while our historic rights of access are increasingly denied.
  • Fay Godwin uses a combination of her photography and words and selected poems and quotes to reveal a deep rooted commitment and respect for the land.
  • She uses haunting, penetrating photographs and text to fuse aesthetic perception with realism, documentary and irony to form a rousing passionate appeal for the land us as citizens can no longer roam.
  • I want my FMP works to contain a similar appeal and substance to that of Fay Godwin’s.
  • I want to produce a passionate and thought provoking series of images on how I feel we as people are having our rights infringed and health endangered by those supposedly in charge but who put their status and careers in front of their duty of care and what should be their primary concern – us!
Development

My intention initially was to take inspiration from what Andy Warhol did with the image of Chairman Mao in 1973.

It had background acrylic on canvas with an ink print of the portrait printed in the foreground.

I wanted to take a similar approach with a canvas painted with an everyday scene and print a contemporary figure or image I the foreground using the inkjet/acetone transfer/decalcomania technique.

I chose to satirise Ieuan Wyn Jones of the Welsh Assembly government in this recognisable way.

I saw him as someone who has jeopardised the health and environment of everyone in my local area due to his dealings with American corporation Covanta who plan to build the UK’s largest ever waste incinerator I an area already acknowledged has having a population with extremely poor health and the highest rate of pulmonary/heart disease in Wales.

I saw him as a figure guilty of political abandonment of those in need, in favour of short term gain.

Recently Lib-Dem MP John Hemming became a champion for free speech, this coming from a pot-bellied serial cheat and love rat who fathered a child with a mistress and who used taxpayers money to part-fund a private business.

I wonder if he’ll re-Tweet that?

  • My development piece is called “It takes one politician and a truckload of shite to begin a generation of misery” and was transferred using translucent silicone sealant onto green masonry sack.

For research and for the purpose of inspiration, museum visits and galleries I have attended were:

  • National Museum of Wales, Aberdare Museum, St David’s Hall Cardiff, Bay Arts Gallery and Cardiff Bay Crafts Gallery.

Some of the more relevant artists to the project I had in mind that I felt most inspired by included established artists such as:

  • John Piper, Terry Setch (especially Landfil 2010), Dave Brook’s plaster and pigment work (Tract11 & Tract 12)
  • newly qualified artists I viewed such as Nicole Thoss’ copy transfer ceramics (Scream No.1 & No.2 and Kidnapping), Dawn Dupree (It’s Never Black and White) and Vicky Shaw (various).
  • The Nicole Thoss copy transfer works were especially interesting to  me as this,prior to any gallery visits,is the technique I had been researching, along with investigating various materials to transfer onto.
Final Outcome

The three artworks I have chosen to represent my final works in this project are deliberately displayed in the following sequence;
a) “Things that should happen, but don’t”,
b) “I am someone too”,
c) “You’ve fallen for the monkey trap.

This is because there is a narrative quality that I wanted to convey to the observer.

  • The three parts come together to show the phenomenon of Proximal Abandonment beginning with the Authority figures and their rush for a quick fix to the problem of residual waste management and the promises of a profit hungry American incinerator corporation homing in on an already deprived ex-coal field community, a place wherein some areas have a male life expectancy of less than 59 years of age.
  • Secondly onto the sombre, yet defiant figure of a young child protesting.
    I convey that she has been abandoned and her rights discarded or ignored.
    She represents us and our future generations, I hope to evoke and convey ideas and release feelings about social and political abandonment using the sack cloth background.
  • Thirdly, the image of man’s closest cousin, the chimpanzee, in a contemplative, possibly mocking pose.
    This echoes an allegorical passage from “Zen and the Art of Motorcycle Maintenance” on short sightedness and it’s many fatal pitfalls and begs the question are they making monkeys of us all?