Slinkachu. Paper. Tate Debate: what is the relevance of collage in the digital age? Collage | Connections | The Metropolitan Museum of Art. Mikel Frank1280852 Madonna and Child Revisited | 2009 | Mikel Frank | Encaustic collage on board | Collection of the artist1280864 Madonna and Child with Angels | ca. 1300 | Cosimo Rosselli (Italian, Florentine) | Tempera and gold on wood | The Friedsam Collection, Bequest of Michael Friedsam, 1931 (32.100.84)7171024 Madonna and Child | ca. 1485 | Filippino Lippi (Italian, Florentine) | Tempera, oil, and gold on wood | The Jules Bache Collection, 1949 (49.7.10)7581024 Virgin and Child | ca. 1455–60 | Dieric Bouts (Netherlandish) | Oil on wood | Theodore M. Davis Collection, Bequest of Theodore M. Davis, 1915 (30.95.280)7721024 Madonna and Child | ca. 1420 | Berlinghiero (Italian) | Tempera on wood, gold ground | Gift of Irma N.
Mikel Frank1280852 My name is Mikel Frank, and I am the stage manager at the Metropolitan Museum in charge of production. As important to me as my job here at the Museum, is what I do outside the Museum. I'm an artist. Assemblage. 1 of 3 The practice goes back to Pablo Picasso’s cubist constructions, the three dimensional works he began to make from 1912. An early example is his Still Life 1914 which is made from scraps of wood and a length of tablecloth fringing, glued together and painted. Picasso himself remained an intermittent practitioner of assemblage. Assemblage was the basis of surrealist objects, became widespread in the 1950s and 1960s and continues to be extensively used, for example by the YBAs. Photomontage. Technique by which a composite photographic image is formed by combining images from separate photographic sources.
The term was coined by Berlin Dadaists c. 1918 and was employed by artists such as George Grosz, John Heartfield, Raoul Hausmann and Hannah Höch for images often composed from mass-produced sources such as newspapers and magazines. Photomontages are made using photographic negatives or positives. Negative montages are produced in the darkroom by, for example, sandwiching negatives in an enlarger or masking sections of photographic paper. Positive montages are usually made by combining photographic prints or reproductions.
Both approaches and endless variants, such as photographing constructed objects, were used by a specialist such as John Heartfield. A wide range of photomontage-type work was produced in the 19th century. This can be categorized according to its naturalist or formalist orientation. David Evans From Grove Art Online © 2009 Oxford University Press top. DADA-Art-photomontage. Schwitters in Britain. 1 of 5 Schwitters in Britain is the first major exhibition to examine the late work of Kurt Schwitters, one of the major artists of European Modernism. The exhibition focuses on his British period, from his arrival in Britain as a refugee in 1940 until his death in Cumbria in 1948. Schwitters was forced to flee Germany when his work was condemned as ‘degenerate’ by Germany’s Nazi government and the show traces the impact of exile on his work.
It includes over 150 collages, assemblages and sculptures many shown in the UK for the first time in over 30 years. Schwitters was a significant figure in European Dadaism who invented the concept of Merz – ‘the combination, for artistic purposes of all conceivable materials’. Schwitters’s escape from Germany took him first to Norway, where he boarded the last ship to leave the country before Nazi occupation. Exhibition highlights include an early example of Schwitters’s unique concept of Merz in the assemblage Merz Picture 46 A.
Henri Matisse: The Cut-Outs. 1 of 3 Henri Matisse is a giant of modern art. This landmark show explores the final chapter in his career in which he began ‘carving into colour’ and his series of spectacular cut-outs was born. The exhibition represents a once-in-a-lifetime chance to see so many of the artist’s works in one place and discover Matisse’s final artistic triumph. In his late sixties, when ill health first prevented Matisse from painting, he began to cut into painted paper with scissors to make drafts for a number of commissions. In time, Matisse chose cut-outs over painting: he had invented a new medium. From snowflowers to dancers, circus scenes and a famous snail, the exhibition showcases a dazzling array of 120 works made between 1936 and 1954.
The exhibition marks an historic moment, when treasures from around the world can be seen together. …This show should not be missed. Inspired by the themes in Matisse: The Cut-outs?