Recommended Databases
SMFA Periodicals
SMFA Print Periodicals
- Journal of artists' books: JABPrint issues available at the SMFA Library
- KolajPrint issues available at the SMFA Library
SMFA Online Periodicals
- Journal of artists' books: JABOnline issues
- Inflight Magazine #3Online issues
Books about Collage
Adam Pendleton: As Heavy As Sculpture by
"A new artist's book by Adam Pendleton (born 1984), As Heavy as Sculpture follows Pendleton's 2021 installation of the same title, exhibited at the New Museum in New York. The book collects, repeats and processes over 80 source collages, incorporating drawings, sketches, writing and marks, often in combination with images. Much of the language in the collages is drawn from the protests against police brutality that swept the US in 2020: Pendleton has transcribed slogans sprayed on walls and windows, combining them with his own improvised language as well as photographs of art objects and artifacts (sculptures, masks and figures). The work points to the poetic pressure that uprisings place on language itself, compressing it in some cases into the barest of forms: simple sequences like 'ACAB' or '1312,' further reducible to the elements 'A, B, C, ' '1, 2, 3.' In parallel with these operations of decomposition and recomposition, the collages in As Heavy as Sculpture have been duplicated, laid out across 30 sheets and folded into book signatures, creating new displacements and cuts. This folding is in effect a chance operation, a procedure of recombination and translation, resulting in arrangements of images not planned out in advance."-- Provided by publisher
Call Number: SMFA Library: N6537.P365 A8 2021
Addie Herder by
This beautifully illustrated book is the first to examine the art of the dynamic collage artist Addie Herder, offering a critical analysis of her intricate constructions. Addie Herder created small-scale collages for which she relied on compositional principles of balance and dynamism. These rigorous, found paper compositions earned the artist well-deserved respect from other artists, dealers, and collectors. Although Herder's work invites comparisons with well-known artists like Joseph Cornell, she eschewed prevailing 20th-century artistic trends such as painterly abstraction, minimalism, and conceptualism. This beautifully illustrated book, the first to examine the art of this dynamic artist, introduces her multilayered practice to new audiences and offers a critical analysis of her intricate and intriguing "assemblage" constructions and ephemera.
Call Number: SMFA: N6537.H3898 A4 2023
Beatriz Milhazes: Collages by
This is the first book on the collages of Brazilian artist Beatriz Milhazes (born 1960). During a residency in Brittany, in 2003, Milhazes offered chocolates and sweets to the art center team, asking them to return the wrapping papers afterward. From these the artist commenced a new project: her collages. Until this point, Milhazes had considered collage a secondary activity, a way of drafting her paintings. With time, her collage technique developed along its own path. "Collages have a kind of dialogue with an imaginary journal," she writes. "Collected papers come from a variety of interests: sometimes it's an aesthetic attraction, but other times they're part of a routine, such as with chocolate wrapping paper or cuttings remaining from existing impressions. That's why composition in collage creates a dialogue that's exclusive to collages." As Frédéric Paul, the book's editor, observes, by using disposable ingredients in her collages, Milhazes emphasizes the acceleration of cycles of taste. "The frivolity of sweets and shopping express the frivolous versatility of trend indicators. They are also, surely, an expression of the assumed decorative frivolity. Milhazes's work has the extraordinary complexity of simple things and faces us with a breathtaking plastic
Call Number: SMFA Library: N6659.M55 A6 2018
Carol Bove: Collage Sculptures by
Carol Bove: Collage Sculptures presents an extensive look into the contemporary artist's work over the past five years and her ongoing exploration of scale, color, material, and artistic traditions of the twentieth century. Bove's recent work engages the conceptual concerns of mid-century sculpture, such as spontaneity, industrial materials, and the potential of painted sculpture. However, within this space of familiar sculptural traditions, Bove has discovered new approaches that lead to places previously unknown. Bove's "collage sculptures" are created from scrap metal and stainless steel that has been carefully worked into sinuous forms and are frequently painted. Considering the hard rigidity of the steel, the works possess an appearance of almost impossible softness, as if steel could become as pliable as clay. Such works range from small pedestal sculptures to large, imposing compositions. Bove's interest in scale and how a viewer's understanding of an artwork shifts depending on its context are explored through a selection of small works from the collection of the Nasher Sculpture Sculpture. Published by the Nasher Sculpture Center, the catalogue features beautiful reproductions of Bove's work and an introduction as well as an essay by curator Catherine Craft on the development of the collage sculptures and their relationship to other artists and traditions of modern sculpture. Also included is an essay by Lisa Le Feuvre that explores Bove's complex work by means of a thematic alphabet related to the artist's interests.
Call Number: SMFA: NB853.B69 A4 2022
Collage Cut and Paste 400 Years of Collage by
Accompanies an exhibition at the National Gallery of Modern Art in Edinburgh from June to October 2019. Collage is one of the defining subjects in Modern Art. It is as important and popular today as it has ever been. This definitive survey of collage and 3-D sculpture (made from bits and pieces stuck and nailed together) spans the whole period from about 1600 to the present day. Each page of this book is filled with fascination. The lavish illustrations include images of items such as books with fold-out flaps, Victorian collage, Valentine and greeting cards, double exposure photographs, album covers such as Sgt Peppers, and many curiosities and items from Cubism, Dada, Surrealism, Pop, 70s counterculture, video and computerised collage. -- Exhibition: Scottish National Gallery Of Modern Art (Modern Two), Edinburgh, UK (29.06.-27.10.2019).
Call Number: SMFA Library: N6494.C6 E55 2019
The Ends of Collage by
Life Portrait, Hannah Höch's last extensive photocollage, was created in 1973. This visual autobiography is the lagest collage ever created by the artist. The artist provides rare insights into her work and her personality. She also ironically and poetically comments ont he key political, social, and artistic events in her life. Hannah Höch selected 38 sections of the collage. These sections of the colalge are complemented by explanatory texts and numerous quotations. Publisher
Call Number: SMFA Library: N6494.C6 E524 2017
Hannah Höch: Life Portrait by Call Number: SMFA Library: N6888.H6 A4 2016
Hoarder order by
Thomas Kuijpers' work always stems from a (series of) current event(s), on basis of which he investigates how the stories told about these events influence our daily lives. What is the effect on our brain of this daily reporting, when it comes to terrorism, refugees, Europe, extremism, etc? To investigate this, Thomas collects a lot of material of all kinds; newspapers, fragments of conversations he overhears on the street, video material from Youtube, posters on the wall at the bus stop, comments on Twitter. As soon as it touches upon the subject being investigated, it is added to the collection. From that collection new connections arise, as well as insights into the way in which narratives about specific subjects are shaped; and with this also the work arises, within which the source material is often still visible. 'Hoarder Order' is an index of 20 years of collecting and (re-)ordering this collection.
Call Number: SMFA Library: N6953.K85 A4 2020
Mark Bradford by
Drawing on the diverse cultural and geographic makeup of his South Los Angeles community, Mark Bradford is known for his wall-size collages and installations from scavenged materials. These artworks are responses to the impromptu networks- underground economies, migrant communities, or popular appropriation of abandoned public space-that emerge within a city. This book focuses on some of Bradford's earliest works which take the form of subtle abstract collages made from end papers, small translucent paper that protects hair from overheating, which he learned to use while working as a hairdresser in his mother's salon. Part painting and part collage, the coloured End Papers works feature grids that contain various hues that pulsate across the surface. Begun when he was a student at the California Institute of Art in the 1990s, the End Paper paintings were the beginning of his process of combining paper and paint. Bradford said recently, "I learned my own way of constructing paintings through the End Papers-how to create space, how to use colour. And how to provide a new kind of content. They were the beginning for me." The exhibition and book examine the use of end papers as a fundamental motif in Bradford's career and how he has returned to it in the past two decades. The essay by Auping discusses how these early works led to his use of merchant's posters, broadsides, and even billboards he found in downtown Los Angeles to make his paintings.00Exhibition: Modern Art Museum of Fort Worth, USA (08.03.- 09.08.2020).
Call Number: SMFA Library: N6537.B6813 A4 2020
Newspaper by
A long-awaited facsimile of Lawrence and Hujar's legendary '60s magazine documenting artists and photographers from Diane Arbus and Yayoi Kusama to Paul Thek and Lucas Samaras Published by Steve Lawrence and edited alongside Peter Hujar and Andrew Ullrick, Newspaper was issued in New York City between 1968 and 1971. A wordless, picture-only periodical that replicated the scale of the New York Times, Newspaper ran for 14 issues and featured the disparate practices of over 40 artists. With an editorial focus on placing appropriated material alongside new artworks, the periodical sought to codify a visual language of high and low culture that represented contemporary society in the late 1960s. While largely overlooked in art-historical discourse, Newspaper showcased many of the most revered artists working in the United States at the time, as well as an emerging coterie of queer artists. All issues of Newspaper are collected and reprinted here for the first time. Artists include: Diane Arbus, Art Workers Coalition, Richard Avedon, Clyde Baines, Sheyla Baykal, Peter Beard, Brigid Berlin, Richard Bernstein, Ann Douglas, Paul Fisher, Maurice Hogenboom, Peter Hujar, Scott Hyde, Christo and Jeanne-Claude, Ray Johnson, Edwin Klein, Yayoi Kusama, Gerald Laing, Dorothea Lange, Steve Lawrence, Jeff Lew, Roy Lichtenstein, Frank Mercado, Duane Michals, Jack Mitchell, Forrest "Frosty" Myers, Billy Name, Stephen Paley, Warner Pearson, Warner Piepke, Charles Pratt, Joseph Raffael, Mel Ramos, Lilo Raymond, Ruspoli-Rodriguez, Lucas Samaras, Alan Saret, Bill Schwedler, Leni Sinclair, Norman Snyder, Elizabeth Staal, Stanley Stellar, Terry Stevenson, Paul Thek, Andrew Ullrick, Andy Warhol, William T. Wiley and May Wilson.
Call Number: SMFA: N6490 .N49 2023
Sara Cwynar: Glass Life by
On beauty and being glitched: Sara Cwynar / essay by Legacy Russell -- Keep your images close / Sara Cwynar in conversation with Rose Bouthillier -- Soft Film -- Rose Gold -- Red Film -- Should artists shop or stop shopping? / essay by Sheila Heti -- Bibliography.
Call Number: SMFA Library: N6549.C89 A4 2021
Something over Something Else by
"In November 1977, the 'New Yorker' published a feature-length biography of artist Romare Bearden by Calvin Tomkins as part of its Profiles series. The essay, titled 'Profiles: Putting Something Over Something Else' (using Bearden's words to describe the creative process), brought national focus to the artist, whose rise had seemed nearly meteoric since the late 1960s. The experience of the interview prompted Bearden to launch an autobiographical collection he called 'Profiles'. He sequenced the project in two parts: 'Part I, The Twenties, ' which featured memories from his youth in the South and in Pittsburgh, and 'Part II, The Thirties, ' about his early adult life in New York. Bearden collaborated with friend and writer Albert Murray on a short statement to accompany each piece. These appeared scripted onto the walls of the 'Profile' exhibition to lead viewers on a visual and poetic journey. This landmark publication reassembles and reconsiders Bearden's 'Profile' series. Beyond providing the opportunity to explore and understudied body of work, the project investigates the roles of narrative and self-presentation for an artist who made a career of creating works based on memory and experience. It also reveals Bearden's own gestures away from the autobiographical and toward a broader view."-- Provided by publisher
Call Number: SMFA Library: N6537.B4 A4 2019
Vitamin C+ by
As seen in Forbes, Colossal, and The Art Newspaper Over 100 global artists working with collage, as chosen by a team of art experts - an indispensable who's who of the most exciting and innovative names working in the medium Collage is an artistic language comprising found images, fragmentary forms, and unexpected juxtapositions. While it first gained status as high art in the early twentieth century, the past decade has seen a fresh explosion of artists using this dynamic and experimental approach to image making. Organised in an A-Z sequence by artist, the book features both well-known collagists including Njideka Akunyili Crosby; Ellen Gallagher; Peter Kennard; Linder, Christian Marclay; Wangechi Mutu; Deborah Roberts; Martha Rosler; and Mickalene Thomas, and a plethora of lesser-known names deserving of greater attention. Taking a broad definition - from analog cut-and-paste compositions and photomontages to digital composed imagery and animations - Vitamin C+ showcases 108 living artists who employ collage as a central part of their visual-art practice, as selected by 69 leading experts, including museum directors, curators, critics, and collectors. The survey also features an engaging and informative introduction by Yuval Etgar, an internationally renowned expert in the area. The 69 expert nominators include: Cecilia Alemani; Iwona Blazwick; David Campany; Raphael Chikukwa; Patrick Elliott; Max Hollein; Hettie Judah; Christine Macel; Roxana Marcoci; Duro Olowu; Scott Rothkopf; Russell Tovey; Zoe Whitley; and Heidi Zuckerman. Artists include: Njideka Akunyili Crosby; Kader Attia; Adam Broomberg; Sara Cwynar; Moyna Flannigan; Ellen Gallagher; Lauren Halsey; Lyle Ashton Harris; Thomas Hirschhorn; Peter Kennard; Justine Kurland; Linder; Christian Marclay; Wangechi Mutu; Frida Orupabo; Heather Philipson; Tabita Rezaire; Deborah Roberts; Martha Rosler; Dee Shapiro; Eva Stenram; John Stezaker; Mickalene Thomas; Kara Walker; and Billie Zangewa.
Call Number: SMFA: N6498.C65 V58 2023
Wangechi Mutu by
A comprehensive survey of the work of the influential Kenyan-American artist Wangechi Mutu Wangechi Mutu's multidisciplinary practice grapples with contemporary realities while proffering new models for a radically changed future informed by feminism, Afrofuturism, and interspecies symbiosis. Her work addresses some of today's most critical questions concerning historical violence and its impact on women, together with our inextricable ties toward one another, our ecosystems, and other life forms. Accompanying a major solo exhibition at the New Museum opening in February 2023, this expansive survey will trace the entirety of Mutu's influential career chronologically, from early sculptural works of the late 1990s to her collage works of the early 2000s and more recent video works, large-scale sculptures, and site-specific interventions. This monograph provides the opportunity to see thematic through-lines and progressions across the entire arc of Mutu's career to date. Her sculptures inaugurated the Metropolitan Museum of Art's Façade Project, and her work is in the collection of the Museum of Modern Art, New York, and Tate Modern, London, among other major institutions.
Call Number: SMFA: N6537.W2564 A4 2023
