Petits Collages En Prose

A l'aube de ce XXI e siècle, le collage doit à son tour se mettre au défi. Si l'acte fondamental du collagiste est de peindre sans peinture avec les matériaux mis au rebut par son époque dont il devient par conséquent le témoin privilégié, il ne doit pas se contenter de ce rôle qui deviendrait une manière, voire un maniérisme de l'art. Le collagiste n'est pas qu'un ferrailleur recycleur qui donnerait aux matériaux un autre sens que leur usage social ; il n'est pas seulement un magicien qui redonnerait vie aux images qui n'en ont plus, il est avant tout un acteur et même un cré-acteur. C'est à ce titre qu'il fige sur la toile ces fragments de concepts, ces confrontations harmonieuses de réalités éloignées et ces symboles collectifs qui construisent assemblages et collages. Lorsque vous regardez les collages du peintre Schwitters ou les collages du poète Kolar, les collages du plasticien-musicien Coaquette ou ceux du collagiste-affichiste Villeglé, un seul mot vient à l'esprit, une seule sensation vous envahit : ce n'est ni peinture, ni collage, ni assemblage, mais poétique de l'oeuvre, poésie de l'artiste. L'art - et non pas l'art pour l'art - quand il est matières et signes, quand il est parole et communication, quand il est un fragment du "Nous-Vous" en un autre "Je", quand il fait parler les sens et communique d'âme à âme, quand il crée l'étincelle de la vie qui est ailleurs, cet art là peut renouer avec les valeurs originelles de la poésie de la matière et des signes. L'art du collage est avant tout poésie, il est la licence poétique du peintre comme la poésie est la licence du littérateur.

Prose Poetry in Theory and Practice vigorously engages with the Why? and the How? of prose poetry, a form that is currently enjoying a surge in popularity. With contributions by both practitioners and academics, this volume seeks to explore how its distinctive properties guide both writer and reader, and to address why this form is so well suited to the early twenty-first century. With discussion of both classic and less well- known writers, the essays both illuminate prose poetry’s distinctive features and explore how this "outsider" form can offer a unique way of viewing and describing the uncertainties and instabilities which shape our identities and our relationships with our surroundings in the early twenty-first century. Combining insights on the theory and practice of prose poetry, Prose Poetry in Theory and Practice offers a timely and valuable contribution to the development of the form, and its appreciation amongst practitioners and scholars alike. Largely approached from a practitioner perspective, this collection provides vivid snapshots of contemporary debates within the prose poetry field while actively contributing to the poetics and craft of the form.

The term “artistic animator” is inspired by the definition “Kunstanimator” given to Spoerri by his longstanding friend Karl Gerstner during an interview with Katerina Vatsella in 1995. Wherever he went, Spoerri was capable of inspiring others to make art, and at the same time he absorbed, interiorized and transformed ideas from others. His fluctuating memberships during late Modernism (Zero, Nouveau Réalisme, Fluxus, Mail Art) explain why some areas of this work have not yet received their due attention and their connection to the whole picture has often eluded scholarly inquiry. Beyond his tableaux-pièges, which gave him immediate notoriety through an early purchase by the MoMA, Spoerri discovered a new way to approach the multiples in sculpture (Edition MAT), he transformed his trap pictures into an experimental narrative form (Topographie Anécdotée du Hasard), he initiated the Eat Art movement, he tested an innovative curatorial approach (the Musée Sentimental and the Giardino). Despite constant interruptions due to his semi-nomadic lifestyle, this oeuvre presents an extraordinary coherence, where none of these ventures can be properly understood without considering all the others. This is the first monograph entirely devoted to Daniel Spoerri in the United States to date. With an introduction by Barbara Räderscheidt.

A new analysis of Surrealist collage in France, leading to a radical reassessment of Surrealism.

This text examines the collection of feminist art in the Museum of Modern Art. It features essays presenting a range of generational and cultural perspectives.

This book explores the development of abstraction from the moment of its declaration around 1912 to its establishment as the foundation of avant-garde practice in the mid-1920s. The book brings together many of the most influential works in abstractions early history to draw a cross-media portrait of this watershed moment in which traditional art was reinvented in a wholesale way. Works are presented in groups that serve as case studies, each engaging a key topic in abstractions first years: an artist, a movement, an exhibition or thematic concern. Key focal points include Vasily Kandinskys ambitious Compositions V, VI and VII; a selection of Piet Mondrians work that offers a distilled narrative of his trajectory to Neo-plasticism; and all the extant Suprematist pictures that Kazimir Malevich showed in the landmark 0.10 exhibition in 1915.0Exhibition: MoMA, New York, USA (23.12.2012-15.4.2013).