Collage

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Inclusive Family: Elliott Hundley Interviewed by Osman Can Yerebakan
A large predominantly red collage consisting of oil stick, encaustic, paper, plastic, pins, photographs, fabric, foam and linen on panel.

Collages as characters.

Inclusive Family: Elliott Hundley Interviewed by Osman Can Yerebakan
A large predominantly red collage consisting of oil stick, encaustic, paper, plastic, pins, photographs, fabric, foam and linen on panel.

Collages as characters.

Critique and Care: Sheida Soleimani Interviewed by Cassie Packard
a collage featuring lobsters a white pot and whiffle balls and a bat titled, ​Bayou Choctaw Sweet, Sheida Soleimani

Photomontages that expose power and brutality.

Complicating Meaning: Jibade-Khalil Huffman Interviewed by Elisa Linn
A collage of brightly colored figure on lightbox titled, A Void, by Jibade-Khalil Huffman

Video and collage work that investigate anxiety and Blackness.

Chris McKim’s Wojnarowicz: F**k You F*ggot F**ker by Eugenie Dalland
Three buffaloes tumble off the side of a cliff.

Wojnarowicz: F**k You F*ggot F**ker (World of Wonder) a documentary by Chris McKim, pays tribute David Wojnarowicz, capturing the care and ferocity of the AIDS activist and artist.

On the 1921 Tulsa Race Massacre
1  Little Africa In Ruins Web

A project organized by Kalup Linzy

Studio Visit: Bean Gilsdorf by Amelia Rina
Textile and photograph collages about a work table piled with supplies in an art studio.

Gorgeous and gaudy portraits of US royalty.

Form and Politics: Theodore A. Harris Interviewed by Kristin Prevallet
Our Flesh Of Flames Theodore A Harris1

Creating a poetic history book with collage.

A Connecting Force or Form: Rami George Interviewed by Laura Brown
An installation view of a projected video featuring a hand opening a turquoise notebook titled, Untitled (with my father), by Rami George

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
A drawing of a muscular Black male affixed to the wall in the studio of ​Clotilde Jiminéz

Exploring queerness and Black bodies through drawing and collage.

New Readings, New Meanings: Frida Orupabo Interviewed by Jareh Das
A collage image of a woman of African descent wearing white an peering over her left shoulder titled, Untitled, by Frida Orupabo

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
A black and white cover of, In the Shadow of Forward Motion, by David Wojnarowicz

A rare David Wojnarowicz zine is republished.

The World’s Chaos Intercedes: Zia Anger’s My First Film by Jasmine Dreame Wagner
screenshot of computer screen with collage of open images notifications and text boxes

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
Page1 Copy

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
Seamless 1008253 1280

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
Glitch 2717636 640

A print project glitched by digital media.

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