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Collage, American --- Exhibitions. --- Condo, George

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Art, American --- Photography, Artistic. --- Drawing, American --- Collage, American. --- Sommer, Frederick,

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"The first major catalogue of contemporary Black American collage, Multiplicity: Blackness in Contemporary American Art brings together over sixty-five works of art by fifty artists that reflect the breadth and complexity of Black identity. Rather than casting their work solely in terms of a racial discourse that often portrays African Americans as a monolith, these artists employ collage to convey the intersecting facets of their lived experiences that combine to make whole individuals. Building on a technique that has roots in European and American traditions-used by canonical figures from Picasso and Hannah Höch to Robert Rauschenberg and Romare Bearden-the artists have assembled pieces of paper, photographs, fabrics, and other often salvaged materials to create unified compositions that express the endless possibilities of Black-constructed narratives despite the fragmentation of our times. As artist Deborah Roberts asserts, "With collage, I can create a more expansive and inclusive view of the Black cultural experience." In addition to eight scholarly essays, the book features 140 color images of work by artists including McArthur Binion, Mark Bradford, Zoë Charlton, Tomashi Jackson, Arthur Jafa, Rashid Johnson, Yashua Klos, Kerry James Marshall, Wangechi Mutu, Lovie Olivia, Ebony Patterson, Howardena Pindell, Jamea Richmond-Edwards, Deborah Roberts, Tschabalala Self, Devan Shimoyama, David Shrobe, Lorna Simpson, Nyugen Smith, Paul Anthony Smith, Mickalene Thomas, Kara Walker, and others. Short biographies written by honor students at Fisk University accompany each artist's entry, concluding a comprehensive and inclusive look at collage today"--

African American collage --- Collage, American --- African American art --- African American artists --- Collage (Art) américain --- Art noir américain --- Artistes noirs américains --- 2000-2099

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"My central claim in this book is that, despite (or perhaps because of) the apparent lack of a "school of Artaud", the artistic production of post-war America manifested a widespread, if haphazard, mobilization of Artaud's ideas. From the 1950s, Artaud's reception developed as a complex discursive matrix in relation to which we might better understand a number of the central imperatives and tensions of the art of this period. Although Artaud had always been situated on the periphery of European surrealism in the pre-war period, often labeled a "dissident surrealist", his posthumous American reception positioned him as a crucial figure in the development of a number of performance, process-oriented, and conceptual practices. Although only a tiny percentage of his output was ever translated into English, his writing was devoured by those seeking an alternative to the hegemonic abstraction of the New York School painters and the psychoanalytic inflections of mainstream surrealism and its legacies. In the chapters that follow, I chart Artaud's reception across various sites, practices, and media, through a close examination of the work of Rachel Rosenthal and John Cage, Wallace Berman, Bruce Conner and Michael McClure, Allan Kaprow, Carolee Schneemann and Nancy Spero. I read their work through the lens of key ideas proposed by Artaud in written works that were circulated contemporaneously in translation, read and in many cases directly cited or more obliquely referenced by those artists and their peers. In addition to the liberatory model proposed by Artaud's theater of cruelty, I identify themes of authority and judgment, the body in crisis and dismantled, and the universal unreliability of representation. Common to the work of the artists that I discuss is an emphatic dedication to dis-organization, enacted at the conjunction of the corporeal, the material, and the linguistic. Aimed at dismantling multiple cultural, political, and philosophical hegemonies, this impulse was directed toward the construction of a non-hierarchical and deliberately anarchic space of artistic creation beyond the autonomous realm of the modernist masterpiece"--

Art, American --- Installations (Art) --- Experimental drama, American --- Social aspects. --- Artaud, Antonin, --- Influence. --- Art américain --- Art --- Art, American. --- Art, Modern --- Collage (Art) américain --- Collage (Art) français --- Collage, American --- Collage, French --- Happening --- Happenings (Art) --- Influence (Literary, artistic, etc.). --- Performance art --- Influence française --- French influences --- 1900-1999.