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| Japanese Poem, 12th century |
Hans Christian Andersen
Hannah Hoch
Kurt Schwitters
Romare Bearden
Richard Hamilton
David Hockney
Mark Bradford
Mark Oliver
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| Hannah Hoch, Cut With the Kitchen Knife Through the First Epoch of the Weimar Beer-Belly Culture, 1919. |
Elliott Hundley
Wangechi Mutu
Curtis Goldstein
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| Kurt Schwitters, John Bull, 1946 and 1947 |
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| Richard Hamilton, Just What is it That Makes Today's Homes so Different, so Appealing?, 1956 |
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| Mark Bradford, Untitled, 2009 |
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| Elliott Hundley, Pentheus, 2010 |
Reading: "Trash" from Gargantua, 1996 Julian Stallabrass
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| Add caption |
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| From Gargantua, p.196, 1996 Julian Stallabrass |
Exercise One: Explore a Field of Color
Either on a found substrate or with no substrate, assemble a collage with scavenged scraps of paper and other miscellaneous flattish materials, arranging and then gluing, stapling, nailing, and/or screwing the materials to each other. Besides glue and such, materials must not be available in art or craft supply stores. Instead, scavenge for materials of chosen colors. Scavenge for quantity and variety. Make color your primary concern, and consider color's potential for meaning. The mind can conjure up all sorts of excuses for why two surfaces of color belong in the same category, so allow yourself lattitude as to how you define particular categories of color. When you are assembling your salvaged scraps of advertising, packaging, and other materials, imagine the possible reasons why certain colors (and particular shades of that color) were chosen for use. What messages are being expressed to consumers? How are such messages affected by fading and the patina of dirt and age? Give considerable thought to color choices and why and how your materials came to be the colors that they are. What ideas can they express, represent, and recall?
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