The invention of collage and photo montage in the early part of the 20th Century has had a profound influence upon Modernism, both in its technical capacity as applied to the physical manipulation of art materials and processes and to the poetic possibilities in its manipulation of images. In 1931, in writing about photomontage from Cologne, Germany, Raoul Hausmann wrote, “Photomontage in particular with its opposing structures and dimensions (such as rough versus smooth, aerial view versus close-up, perspective versus flat plane) allows the clearest working out of the dialectical problems of form” The source materials for collages have been supplied by all sorts of printed matter, old illustrated prints in books, newspapers and especially photographic images from magazines. How artists have manipulated these found images, juxtaposing divergent images, has in essence created a visual poetry that has profoundly altered the context and denotation of their art. As a contemporary collage artist, Ann Harithas has uniquely extended our understanding of collage, especially as a medium ideally suited to an art form that responds to life and how the mind accesses the conflicting information that it registers.
Following the opening reception, the exhibit will be on display through March 4.
The invention of collage and photo montage in the early part of the 20th Century has had a profound influence upon Modernism, both in its technical capacity as applied to the physical manipulation of art materials and processes and to the poetic possibilities in its manipulation of images. In 1931, in writing about photomontage from Cologne, Germany, Raoul Hausmann wrote, “Photomontage in particular with its opposing structures and dimensions (such as rough versus smooth, aerial view versus close-up, perspective versus flat plane) allows the clearest working out of the dialectical problems of form” The source materials for collages have been supplied by all sorts of printed matter, old illustrated prints in books, newspapers and especially photographic images from magazines. How artists have manipulated these found images, juxtaposing divergent images, has in essence created a visual poetry that has profoundly altered the context and denotation of their art. As a contemporary collage artist, Ann Harithas has uniquely extended our understanding of collage, especially as a medium ideally suited to an art form that responds to life and how the mind accesses the conflicting information that it registers.
Following the opening reception, the exhibit will be on display through March 4.
The invention of collage and photo montage in the early part of the 20th Century has had a profound influence upon Modernism, both in its technical capacity as applied to the physical manipulation of art materials and processes and to the poetic possibilities in its manipulation of images. In 1931, in writing about photomontage from Cologne, Germany, Raoul Hausmann wrote, “Photomontage in particular with its opposing structures and dimensions (such as rough versus smooth, aerial view versus close-up, perspective versus flat plane) allows the clearest working out of the dialectical problems of form” The source materials for collages have been supplied by all sorts of printed matter, old illustrated prints in books, newspapers and especially photographic images from magazines. How artists have manipulated these found images, juxtaposing divergent images, has in essence created a visual poetry that has profoundly altered the context and denotation of their art. As a contemporary collage artist, Ann Harithas has uniquely extended our understanding of collage, especially as a medium ideally suited to an art form that responds to life and how the mind accesses the conflicting information that it registers.
Following the opening reception, the exhibit will be on display through March 4.