Word: collagists
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...most pointed criticism of Davis is that his creativity, like that of Robert Rauschenberg (another pop collagist), is invested in process rather than results. Listen to his music casually, and you wonder: What does DJ Shadow have to say for himself? But focus on the voices he chooses to speak for him on The Private Press: there's the woman dictating a letter home, the giddy record collector discussing his tape collection, a kid asking to be told a story, the egoist who declares, "And now...eternity!" as somber keys take him away to some sad netherworld. Not everyone will...
...Manhattan and Los Angeles. Among them, from Paris, were Fernand Leger, Marc Chagall, Piet Mondrian, Jacques Lipchitz and the core group of Surrealists who went to New York City: Max Ernst, Andre Breton, Yves Tanguy, Andre Masson and Roberto Matta. From Germany, Kokoschka, Kurt Schwitters and the Dada collagist John Heartfield reached London, while Max Beckmann, Josef Albers and George Grosz made it to America...
...frequently, the use of a central conceit, sometimes quite fantastic, to structure his poems. This last tendency is best illustrated in The Museum of Clear Ideas, Hall's 1993 book, in which one poem is framed as his explanation the game of baseball to Kurt Schwitters, the Dada collagist...
...Rainey's Black Bottom and The Piano Lesson) often stings with the power of a Tennessee Williams or a Eugene O'Neill. Though Wilson, unlike composer Davis, sticks to black subject matter, he too seeks to transcend racial limits in his themes. Referring to the late black painter-collagist Romare Bearden, Wilson says, "Bearden has said -- someone asked him about it -- 'I try to explore in terms of the life I know best those things that are common to all culture.' When I read that I said, 'Ah-ha, that's what art should do. This is something...
...runs one part of a scenario for total theater, as imagined soon after the infinitely worse chaos of the First World War by a German collagist, poet and would-be dramaturge, Kurt Schwitters (1887-1948). The scenario casts a long shadow. Schwitters' ambition to assault all the senses with a megalomaniac collage of real things onstage is the middle term between Wagner and the plotless, junk-crammed happenings that were the talk of the New York art world in the early '60s. The more one sees of Schwitters, the more Robert Rauschenberg's and Jasper Johns' work...