The Ends of Collage
In our present moment, defined increasingly by rupture and change, the medium of collage has taken on renewed signifcance in the way that it critically reflects these forces while also visually reproducing them. Born during the age of mechanical reproduction, collage was transformed again during the digital revolution of the 1970s, when the material cut was replaced by the art of reframing, and physical paste by rephotography. Collage nowadays reflects a world dominated by the pervasive forces of globalistion and technological manipulation, where a whirlwind of information, voices, and images flows constantly in and out of our consciousness.
The nineteen essays gathered here - written by artists, theorists, and historians - all seek to define collage with reference to the notion of 'ends': the physical, historical, technological, or ideological extremities through which it operates and that distinguish it from other media. Chosen in accordance with a desire to review the history of collage and reignite a discussion about it, the selected texts are grouped according to their subject, rather than chronologically.
Foreword: Why Collage Now?
'The Ends of Collage' by Yuval Etgar
'The Forerunners' by Herta Wescher
'Free-word Poetry' by Christine Poggi
'Collage' by Clement Greenberg
'Towards a Definition of Surrealist Collage' by Elza Adamowicz
'The Challenge to Painting' by Louis Aragon
'Beyond Painting' by Max Ernst
'Collages' by Jean (Hans) Arp
'On Collage' Hannah Höch
'From Detail to Fragment: Décollage Affichiste' by Benjamin D. Buchloh
'The Cutting Edge' by Brandon Taylor
'Cutting and Framing' by John Stezaker
'Twelve Fragments to Take Off (in 40,000 Signs)' by Group µ
'The Allegorical Impulse: Toward a Theory of Postmodernism' by Craig Owens
'Pictures' by Douglas Crimp
'Practicing Without a License 1977' by Richard Prince
'Statement' by Sherrie levine
'Image Simulations, Computer manipulations: Some Considerations' by Martha Rosler
'On Edge' by Ali Smith
22 x 13 cm. (8 5/8 x 5 1/2 in.)