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A Connecting Force or Form: Rami George Interviewed by Laura Brown
Untitled With My Father Rami George1

Reconstructing a family history in video and collage.

A Connecting Force or Form: Rami George Interviewed by Laura Brown
Untitled With My Father Rami George1

Reconstructing a family history in video and collage.

Erica Baum by Rajesh Parameswaran
Untitled Simbolismo 1994

Baum’s work unearths and explores the incidental poetry of UFO sightings, dog-eared paperbacks, and obsolete artifacts like card catalogs.

Studio Visit: Clotilde Jiménez by Terence Trouillot
Clotilde Jimenez Studio1

Exploring queerness and Black bodies through drawing and collage.

New Readings, New Meanings: Frida Orupabo Interviewed by Jareh Das
Frida Orupabo Untitled1

Working with collage to undo the gendered and racist gaze.

Of Grief and Anger: David Wojnarowicz’s In the Shadow of Forward Motion Reviewed by Conor Williams
In The Shadow Of Forward Motion3

A rare David Wojnarowicz zine is republished.

The World’s Chaos Intercedes: Zia Anger’s My First Film by Jasmine Dreame Wagner
Zia Anger My First Film Title BOMB Magazine

The detritus of a filmmaking career becomes an immersive work of autofiction.

Restaging Family: Natalie Krick Interviewed by Kim Beil
Natalie Krick1

Photographs addressing gender, sexuality, and popular culture.

Loplop Persists: Max Ernst’s Collages Reviewed by Elina Alter
Max Ernst1

The imaginary as real.

Black Line, Mixed Signals, and Île d’Ouessant by Jordan Cronk
Ligne Noire 01

From Andrei Tarkovsky to Lucrecia Martel, Peter Hutton to Nathaniel Dorsky, entire aesthetic philosophies, genres, and approaches to filmmaking have been rooted in the elements. 

My Favorite Regular by Devon Marinac
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Devon Marinac is a visual artist whose practice includes painting, drawing, collage, and zine making, often in combination. Devon was born in British Columbia, raised in Mississauga, and currently resides in Toronto. 

Three Poems from Heck Land: The Resorted Text by Annelyse Gelman

These poems are excerpted from Annelyse Gelman’s Heck Land: The Resorted Text, a lyrical reworking of the definitive edition of William S. Burroughs’s seminal anti-novel Naked Lunch: The Restored Text. There are twenty-five in all—one for each chapter of Naked Lunch—each a scalpeled, reappropriated cut-up tape-mounted to projector transparency, then photographed recto and verso, along with dust, fingerprints, squashed bugs, and other process artifacts.

First Impressions by Tom Comitta
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This piece consists entirely of first sentences from 268 short stories published in The New Yorker over the past 20 years, from 1997 to 2017.

Visual Poems by Jeffrey Grunthaner
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A print project glitched by digital media.

The Idea of the Beginning Is Not Really at the End: Loup Sarion Interviewed by Madeleine Braun
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fiction + volume = sculpture

Fragments as Form: Mary Robison’s Why Did I Ever by Lincoln Michel
Robison Post It Banner

The great lost American fragment novel.

Tuli Kupferberg’s YEAH by Michael Blair
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Yep, here I am to tell y’all about YEAHYEAH being YEAH the magazine, that turpentine “tonic in type for young and old,” mimeographed between 1961 and 1965 by Fugs founder, poet, and anarcho-sociologist of the Lower East Side Tuli Kupferberg.

End Page by Gabriela Vainsencher
G Vainsencher Shards 2
Metaphors on Vision by Stan Brakhage
Brakhage 2

A letter from Brakhage to the poet Robert Kelly describing his work on the groundbreaking film Mothlight.

Nina Katchadourian by Mónica de la Torre​
Katchadourian Nina 01

Embracing boredom and creative constraints, Katchadourian tells of in-flight artwork and other conceptual projects.

On the Clock with Amanda Ross-Ho by John Yau
Amanda Ross Ho 01

The gallery as studio.

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