Stan VanDerBeek, Untitled (Billboard Collage), 1978-1983
Animation frame / Collage on paper, 12 3/8 x 13 3/8 in
Mel Bochner, Dispersed Perspective (One Point), 1967
Photo collage and graphite on board, 17” x 17”
Eduardo Paolozzi, Keep it Simple, Keep it Sexy, Keep it Sad, 1952
Collage on paper.
Here’s an interesting studio visit with Los Angeles filmmaker Lewis Klahr. I had the opportunity to see his collage-noir Two Minutes to Zero Trilogy (2004) last night, and I highly recommend seeking out his work. The trilogy takes it’s source material from the 77 sunset strip comic books, telling the story of a bank robbery gone awry in three narrative speeds. The first film, Two Days to Zero clocks in at 22 minutes, while the second film is a more taught 8 minutes and features a Rhys Chatham soundtrack. Finally the last film, Two Minutes to Zero is roughly a minute long burst set to Glenn Branca’s The Ascension. Sadly, I was unable to find any clips of that particular film online, but this video has clips from several of his other works.
One of Bern Porter’s Founds on display at Ubu in collaboration with the MOMA exhibition Lost and Found: The Work of Bern Porter from the Collection of the Museum of Modern Art.
Bern Porter (1911–2004) contributed to some of the most important scientific and artistic innovations of the twentieth century. He worked on the development of the cathode-ray tube (for television), the atomic bomb (with the Manhattan Project), and NASA’s Saturn V Rocket. When the United States dropped an atomic bomb on Hiroshima, in 1945, Porter walked away from his position with the Manhattan Project and, disappointed with his work as a physicist, turned his attention to artistic pursuits. In the aftermath of World War II, a flood of visual information spread across the United States. Advertisements in newspapers and magazines and on billboards and television promised an easier and happier life through the purchasing of products. For his collages, which he dubbed “Founds,” Porter gathered the waste of this new culture—advertisements, junk mail, instruction booklets, scientific documents, and other material—and turned it into art. In addition to his books of Founds, Porter authored treatises on the unification of science and art (what he called “Sciart”) and books of experimental poetry. He published work by major figures in art and literature, such as Henry Miller, Kenneth Patchen, and Dick Higgins. Also, as the self-proclaimed inventor of mail art, Porter was an active participant in a vast international network of artists who shared their work with each other through the post.
The cover of the record was a collage I made that was hanging in the hallway of our house. We were trying to figure out the cover art and the deadline was really soon, I just looked up and said ‘lets just use that fucked up thing.’ Much laughter ensued and for some rason we thought it was a good idea. Also, we overdubbed amp-hum on the first side.
– from an interview with Justin Trosper.