Download PDF by David Banash: Collage culture : readymades, meaning, and the age of

By David Banash

Collage Culture develops a accomplished idea of the origins and meanings of college and readymades in glossy and postmodern paintings, literature, and daily life. Demonstrating that the origins of college are present in meeting line applied sciences and mass media kinds of structure and advertisements in early twentieth-century newspapers, Collage Culture strains how the old avant-garde turns the fragmentation of Fordist construction opposed to nationalist, fascist, and capitalist ideologies, utilizing the unconventional strength unleashed via new applied sciences to supply serious collages. David Banash adeptly surveys the reinvention of college by way of a iteration of postmodern artists who improve new types together with cut-ups, sampling, zines, plagiarism, and copying to deal with the banalities and calls for of client tradition. Banash argues that university mirrors the profoundly dialectical family among the minimize of meeting traces and the readymades of consumerism at the same time its cutting-edges circulate opposed to the imperatives of passive intake and disposability instituted through these applied sciences, types, and family members. Collage Culture surveys and analyzes works of ads, assemblage, movie, literature, song, portray, and images from the old avant-garde to the latest advancements of postmodernism

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Extra resources for Collage culture : readymades, meaning, and the age of consumption

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Their mass gymnastics are never performed by the fully preserved bodies, whose contortions defy rational understanding. Arms, thighs, and other segments are the smallest component parts of the composition” (78). He concludes that this is a true mirror of anti­organic, unnatural capitalist production, which “does not rise purely out of nature,” and so “it must destroy the natural organisms that it regards either as means or as resistance” (76). The machine aesthetic was profoundly a part of avant­garde art, and while usually these works are animated by vigorous critique, there is too a kind of subterranean embrace and pleasure in such shattering processes as well.

The world itself is shattered, reduced to the dimensions of the fragmented mosaic of TV. A sliver of a globe hovers over them, suggesting not only a dawning space age, but their utter distance from traditional geography, as if their room floats away from the earth itself, a powerful metaphor for the mediatization of everyday life that constantly brings fragments of the world inside the domestic. Indeed, while a sea of bodies on a sandy beach plays the role of a carpet, it looks like nothing so much as the static of a dead channel.

They wear the finest clothes, their bodies whole, and the clockwork mechanisms are hidden from the eyes. They make every attempt to become human flesh, and it seems that they are meant to comfort us. Their mechanisms are perfectly comprehensible but always concealed so that we do not confront their mechanical abjection, assured that a kindly toy­making god watches over a rational world just as we watch over their amusing exploits of playing a piano or writing their own name. Hausmann’s head is blank, decapitated from the body, and violently modified.

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