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hauntedbystorytelling · 1 day

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Lee (Miller) eye by Anna Ostoya

Anna Ostoya (Polish, b. 1978) ~ Lee 6 & 7, 2017, oil, gold leaf and archival print on canvas | src Bortolami gallery

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warnerisbetter · 3 months

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Dating johnnie guilbert

#johnnie guilbert #emocore #jake and johnnie #johnnie x you #johnnie x reader #youtuber #jake webber #tara yummy #johnnie guilbert x reader #johnnie guilbert x you #dating johnnie guilbert #dating aesthetic #photocollage

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mtammen · 8 months

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#collage #analog collage #photocollage #surrealart #surrealcollage #papercollage #surrealism #handmade #vintage aesthetic #artists on tumblr #Sonne schöpfen

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cerebus1963 · 6 months

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Tintin et Paris

#artists on tumblr #photocollage #comics #tintin #herge #fanart

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keryahoraculi · 2 years

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By Robin Isely

#dark art #black and white #photography #photocollage #collage #skull girls #sureal #surealart #robin isely #darkart #skullgirls #keryahoraculi

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garadinervi · 2 months

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Hét portret van Anton de Kom. Van collage tot icoon / The Defining Image of Anton de Kom. From Collage to Icon, Kunstmuseum Den Haag, November 27, 2021 – March 20, 2022

«When We Slaves of Suriname was almost ready for publication, the photographer, typographer and industrial designer Piet Zwart (1885-1977) was commissioned to design the book cover. […] Zwart began the design process for the book cover with a photo shoot that resulted in two portraits of the author: one with a serious expression and one with a smile. The portraits are unconventional compared to others of De Kom, who usually posed in formal clothing. Zwart cut De Kom's head from the first portrait and added it to a photocollage of numerous cut-out figures that seem to represent the Surinamese population. Zwart used the photocollage as the basis of a sketch design with diagonal and vertical lines of text in black and red. Ultimately, Zwart's dynamic design was not used on the cover of De Kom's book. It was most likely rejected by the publisher, Contact, which opted simply to use Zwart's portrait of De Kom on the cover of We Slaves of Suriname. The exhibition features the original collage and sketch design for the book cover and prints of both the serious and smiling portrait.» – (excerpt from the exhibition presentation)

#graphic design #preparatory study #preliminary drawings #drawing #photocollage #collage #sketch #handwriting #notation #visual writing #exhibition #book #anton de kom #piet zwart #contact #kunstmuseum den haag #1930s #2020s

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kolajmag · 2 months

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COLLAGE ON VIEW

Landscape Vernacular

Todd Bartel at the Art Center Gallery at Anna Maria College in Paxton, Massachusetts, USA through 10 April 2024. Todd Bartel’s “Landscape Vernacular” series is an ongoing, decade-long research-based collage series addressing the history of land depiction and changing attitudes about land use and ecology. Catalyzed by interlocking combinations of dictionary definitions, texts, and images, “Landscape Vernacular” collages juxtapose vintage imagery and ephemera from the 18th- through 21st centuries, chronicling the dawn of the Anthropocene. Read More

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Kolaj Magazine, a full color, print magazine, exists to show how the world of collage is rich, layered, and thick with complexity. By remixing history and culture, collage artists forge new thinking. To understand collage is to reshape one's thinking of art history and redefine the canon of visual culture that informs the present.

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erregalvez · 11 months

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ESPLENDID

#analogcollage #collage #cutandpaste #erregalvez #analogphotography #typography #cuandpastecollage #photocollage #collagist

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artdepo · 2 months

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Pierre Schmidt

#photo art #photocollage #modern art #contemporary art

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darksilenceinsuburbiareloaded · 1 year

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Susana Blasco | Era 01. 2022 | collage con fotografia encontrada, 37 x 42 cm

@descalza

#art #contemporary art #collage #photocollage #contemporary collage #handmadecollage #susanablasco

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fashionbooksmilano · 4 months

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Deborah Turbeville Photocollage

Nathalie Herschdorfer

Texts by Vince Aletti, Anna Tellgren and Felix Hoffmann

Thames & Hudson, London 2023, 240 pages,188 color illustrations, 26,32x31cm, ISBN 9780500026212

euro 60,00

email if you want to buy [email protected]

Timeless, evocative, and hauntingly beautiful photocollages in a retrospective monograph by a truly innovative image maker whose female gaze transformed fashion photography.

American photographer Deborah Turbeville defies classification. She belongs to no school nor movement. Her unique visual signature has been recognizable since her emergence as a major talent in the 1970s. Her images are evocative, difficult to date at first glance, and seem dreamlike to our twenty-first-century eyes, a very different representation of feminine beauty from the highly sexualized works of her male contemporaries.

This new publication focuses on the area of Turbeville’s practicewhere her genius as an artist can be found: photocollage. In contrast to her contemporaries in fashion photography, she was deliberately playful with her images: xeroxing, cutting, scraping, and pinning prints together, writing in the margins and creating narrative sequences. Her work is located far from single, glossy images. It inhabits a liminal zone between art and commerce.

Built upon extensive research in the Deborah Turbeville archive, the work shown spans commercial and personal projects, with many images published for the first time. With texts by Vince Aletti, Anna Tellgren, and Felix Hoffmann, this book brings into the spotlight the ways in which Turbeville redefined fashion photography, moving away from the sexual provocation and stereotypes assigned by male photographers to an idea of femininity on her terms. Deborah Turbeville: Photocollage will be an essential publication with modern relevance for all with a passion for fashion photography.

26/12/23

#Deborah Turbeville #photography books #Photocollage #american photographer #Diana Vreeland #fashion photography #fashionbooksmilano

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hauntedbystorytelling · 1 month

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Surrealism and ecstasy (1933)

Le phénomène de l'extase, photomontage de Dalí, Brassaï, Breton et Éluard (1933); publié dans Minotaure, n° 3-4, décembre 1933 The Phenomenon of Ecstasy, is a photomontage built in a spiral: it is made up of 32 photos organized in a labyrinth of photos which wind up, drawing the eye in a hypnotic way towards the central photo, a portrait of a woman by Brassaï. This photo was part of a series of…

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