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A fun and interactive book packed with ideas and material for making collages. Create your own artworks and collages with this fantastic and fun book from print designer Lizzie Lees. Collage Carnival invites the reader to create a range of collage projects, from city scapes and travel journals using holiday snaps, to glitter-filled cards for friends. Mixed in with hints and tips for getting started are pages that can be coloured, cut out, customized, drawn on and embellished. There are pages filled with stickers and pages with gatefolds, allowing you to create your own collage masterpieces. Some pages are perforated so they can be pulled out and hung on the wall. Create your own collage carnival!
In Collective Memory and the Historical Past intellectual historian Jeffrey Andrew Barash elaborates a philosophical basis for the concept of collective memory and delimits the specific scope of this concept in relation to the historical past. Barash begins with the concept of memory and the principal significations it has been accorded by different traditions of Western thought. He argues that the predominant philosophical arguments in given historical periods regarding the significance and scope of memory are more than abstract speculations, for they owe their persuasive force to the fundamental convictions they convey concerning the sense of human existence and of human interaction in the socio-political sphere. Barash argues that the paradox of collective memory requires an account of the multiple functions of the imagination which, far from limited to the production of fantasy or fiction, configures the patterns of symbolic interaction through which remembered experience is made communicable among vast groups. Using vivid examples drawn from recent history, literature, and art, this learned yet accessible work interjects clarity and originality into the hitherto vexed and confused theory of collective memory.
The essays in this volume present a thorough re-evaluation of the idea of place for the twenty-first century, linking across theoretical interests in space and spatialisation and in motion and mobility. ‘Placing’ becomes an active process that happens in different parts of the world, and there is work here from the countries of the United Kingdom, from Ireland, the USA, Australia and mainland Europe. Placing also happens in different contexts, in the Production of visual images, in translation, in performance and in poetry that is both ‘there’ and ‘here’. The range of poets under consideration matches the breadth of the range of the Contributors. International in scope, and drawn from a variety of practices and processes, their combination in a single volume leads to unusual connections and new readings of their work.
Emphasizing the diversity of twentieth-century collage practices, Rona Cran's book explores the role that it played in the work of Joseph Cornell, William Burroughs, Frank O'Hara, and Bob Dylan. For all four, collage was an important creative catalyst, employed cathartically, aggressively, and experimentally. Collage's catalytic effect, Cran argues, enabled each to overcome a potentially destabilizing crisis in representation. Cornell, convinced that he was an artist and yet hampered by his inability to draw or paint, used collage to gain access to the art world and to show what he was capable of given the right medium. Burroughs' formal problems with linear composition were turned to his advantage by collage, which enabled him to move beyond narrative and chronological requirement. O'Hara used collage to navigate an effective path between plastic art and literature, and to choose the facets of each which best suited his compositional style. Bob Dylan's self-conscious application of collage techniques elevated his brand of rock-and-roll to a level of heightened aestheticism. Throughout her book, Cran shows that to delineate collage stringently as one thing or another is to severely limit our understanding of the work of the artists and writers who came to use it in non-traditional ways.
From 1972 to 1975, Susan Meiselas spent her summers photographing and interviewing women who performed striptease for smalltown carnivals in New England, Pennsylvania and South Carolina. As she followed the girl shows from town to town, she portrayed the dancers on stage and off, photographing their public performances as well as their private lives. She also taped interviews with the dancers, their boyfriends, the show managers and paying customers. Meiselas' frank description of the lives of these women brought a hidden world to public attention. Produced during the early years of the women's movement, "Carnival Strippers" reflects the struggle for identity and self-esteem that characterized a complex era of change. This revised edition contains a new selection of Meiselas' black-and-white photographs together with the original interview excerpts. Additionally, an audio CD featuring a collage of participants' voices and a 1977 interview with the photographer are included. Essays by Sylvia Wolf and Deirdre English reflect on the importance of this body of work within the history of photography and the history of feminism.
L szl Moholy-Nagy was one of the Bauhaus' most influential teachers; his photographic skills, as well as his writing on the subject, helped to secure the medium's integral place in modern art. One of Moholy-Nagy's most notable contributions was his extensive exploration--from 1922 through 1943--of the aesthetic possibilities of the photogram (he coined the term). These ghostly traces of objects placed on photographic paper during exposure are part of a prolific legacy that included painting, sculpture and stage design. Moholy-Nagy's photograms have become emblematic of the medium, though they have yet to be fully critically explored. This well-illustrated catalogue raisonn is the first to feature all of his known photograms--nearly 450--in chronological order. This exhaustive volume examines the artistic, technical and biographical circumstances under which the works were created, places them in relation to other parts of Moholy-Nagy's practice and analyzes selected pieces at length. L szl Moholy-Nagy(1895-1946) taught at the Bauhaus for five years, founding The School of Design in Chicago, which became the Illinois Institute of Technology, in 1939.

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