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"Photocollage Exhibitions."
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One and one is four : the Bauhaus photocollages of Josef Albers
Josef Albers is widely recognized as a crucial figure in 20th-century art, both as an independent practitioner and as a teacher at the Bauhaus, Black Mountain College and Yale University. Albers made paintings, drawings and prints and designed furniture and typography. Arguably the least familiar aspect of his extraordinary career was his inventive engagement with photography, only widely known after his death, including his production of approximately 70 photocollages that feature photographs he made at the Bauhaus between 1928 and 1932. These works anticipate concerns that he would pursue throughout his career--the effects of adjacency, the exploration of color through white, black and gray, and the delicate balance between handcraft and industrial and mechanical form. Albers's photographs were first shown at MoMA in a modest exhibition in 1987, when the Museum acquired two photocollages. In 2015 the Museum acquired ten additional photocollages, making its collection the most substantial anywhere outside the Albers Foundation. This publication reproduces each of the photocollages Albers made at the Bauhaus, presenting the scope of this achievement for the first time. An introductory essay by Sarah Hermanson Meister situates them within the contexts of modernist photography, the Bauhaus ethos and of Albers's own practice--David Zwirner Books (viewed on November 11, 2016)
Book
Romare Bearden at the Whitney
\"In his finest work, the collages of his maturity, [Romare] Bearden created a deeply felt and rigorously complex chronicle of black America. It is a rooted and elegiac art but also a joyous one, embodying African-American life, in all its multiplicity, with pictorial know-how and an unabashed humanity.\" (NEW CRITERION) A discussion of Bearden's photographed collages, his photomontage technique and his modern portrayal of \"the black experience\" is provided.
Magazine Article
Isa Genzken : mach dich hèubsch!
Facsimile of an artist book that Genzken created about 15 years ago in Berlin and published on the occasion of the exhibition at the Stedelijk, Amsterdam. The book, a scrapbook in the style of Genzken's well-known publication 'I Love New York, Crazy City', is full of playful collages in which she reflects on big-city life, media culture, sexual identity, and her own biography.
Book
Romare Bearden: Man of Many Parts
\"Romare Bearden lived in many dimensions. He had a degree in education, but became a painter. He borrowed ideas from the 14th-century Florentine artist Giotto and from Byzantine mosaics, but used spray paint, sandpaper and Clorox on his canvases. He was a social worker looking after gypsies in New York City, a child of the Harlem Renaissance of the 1920s, and an artistic leader in the civil rights movement of the 1960s...Bearden became a master of collage, an art form as complex, fragmented and many-layered as his life. And in a body of work that is unique in American art, he made collage a medium for celebrating his African-American heritage and culture.\" (Smithsonian) This profile of Bearden's life and artistic career highlights his \"innovative collages\" and his contributions to 20th-century American art.
Magazine Article
Rauschenberg’s Photographies
Discusses the work of the American artist Robert Rauschenberg, with particular reference to the exhibition Robert Rauschenberg: a Retrospective, at the Guggenheim Museum Bilbao in Bilbao, Spain (20 Nov.1998-26 Feb. 1999), and to his use of photogram techniques. The author describes Rauschenberg's early photographs, comments on the photograms he produced in collaboration with Susan Weil during the early 1950s, and considers his White Paintings. She examines the reasons for the general appeal of Rauschenberg's oeuvre, notes the advent of post-modernism which was heralded by his `Combine' works, and concludes by examining his career-long refusal to accept the categorization of photography.
Journal Article