collage & photomontage readymades cut-ups pop art appropriation art

explosion of avant-gardes world war one russian revolution women’s suffrage anti-art (dada)

Pablo Picasso, Guitar and sheet music (1912 )

dadaist & constructivist photomontage

George Grosz and John Heartfield, Life and activity in the universal city at 12:05 midday (1919)

TO MAKE A DADAIST POEM Take a newspaper. Take some scissors. Choose from this paper an article of the length you want to make your poem. Cut out the article. Next carefully cut out each of the words that makes up this article and put them all in a bag. Shake gently. Next take out each cutting one after the other. Copy conscientiously in the order in which they left the bag. The poem will resemble you. And there you are - an infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.* ________________________________________________________________________ * Example: when dogs cross the air in a diamond like ideas and the appendix of the meninx tells the time of the alarm programme (the title is mine) prices they are yesterday suitable next pictures/ appreciate the dream era of the eyes/ pompously that to recite the gospel sort darkens/ group apotheosis imagine said he fatality power of colours/ carved flies (in the theatre) flabbergasted reality a delight/ spectator all to effort of the no more 10 to 12/ during divagation twirls descends pressure/ render some mad single-file flesh on a monstrous crushing stage/ celebrate but their 160 adherents in steps on put on my nacreous/ sumptuous of land bananas sustained illuminate/ joy ask together almost/ of has the a such that the invoked visions/ some sings latter laughs/ exits situation disappears describes she 25 dance bows/ dissimulated the whole of it isn't was/ magnificent has the band better light whose lavishness stage music-halls me/ reappears following instant moves live/ business he didn't has lent/ manner words come these people

John Heartfield, A Pan-German (1933) Photo from Stuttgart police files that had been reproduced as an example of “photo as document” in Franz Roh’s Photo-Eye (1929) with the caption “peace-time murder victim.”

Hannah Hoch, untitled, 1920 Celebrity dancer Pavlova at the beach, from the June 1921 issue of Die Dame (Lady Magazine)

readymades

Marcel Duchamp, Fountain (1917)

Marcel Duchamp, Bicycle (1915) Bottle rack (1914)

Marcel Duchamp talks with Martin Friedman, Walker Art Center director ( ), about the readymade. October 18,

Marcel Duchamp, L.H.O.O.Q. (1919)

Starting in 1997, Rhonda Roland Shearer began publishing research that seemed to show that Duchamp had in fact altered in important and interesting ways all of his readymades – originals that actually corresponded to the readymades could not be found and in some cases were impossible. The Mona Lisa (original no longer available) seems to have been a repainting that made the face closer to Duchamp’s in details aar from the moustache and goatee.

Fernand Léger, La Joconde aux clés, 1930

Salvador Dali, Autoportrait en Mona Lisa, 1954

After World War II, there is a recycling of the movements that came before World War I – an unacknowledged appropriation? Americanization (and popularization) of the pre-WWII movements (dada, surrealism, Duchamp’s conceptual art)

beat generation cut-ups

Cut-ups. Archival recording of William S. Burroughs and sound experiment of Brion Gysin, animated by Matti Niinimäki

From the early 1970s, David Bowie has used cut-ups to create some of his lyrics. This technique influenced Kurt Cobain's songwriting. Thom Yorke applied a similar method in Radiohead's Kid A (2000) album, writing single lines, putting them into a hat, and drawing them out at random while the band rehearsed the songs. The Cut-ups (1966) Cinematography: Antony Balch Screenplay: William S. Burroughs Cast: William S. Burroughs, Brion Gysin

pop art

Richard Hamilton Just what is it that makes today’s homes so different, so appealing? 1956

Jess [Collins], Tricky Cad (1950s)

Roy Lichtenstein, Drowning Girl Oil and synthetic polymer paint on canvas, 67 5/8 x 66 3/4" (171.6 x cm) Tony Abruzzo - "Run for Love", Secret Hearts, D.C., 1962

Roy Lichtenstein, I can see the whole room … and there’s nobody in it! (1961). Graphite and oil. William Overgard, Steve Roper August 6, 1961

Andy Warhol, Triple Elvis (1963)

Andy Warhol, Electric Chair (1964)

Andy Warhol, Orange Disaster / Electric Chair (1963)

Andy Warhol, Marilyn (1962)

Andy Warhol, 30 are better than one (1963)

appropriation art

Richard Prince, Untitled (Cowboys) ( )

Walker Evans, First and Last (1936)

Sherrie Levine, Untitled (After Walker Evans) (1979) Rephotographed photograph from book.

digital art

Lillian F. Schwartz, Mona/Leo (1987)

street art

internet art