Collage: Assembling Contemporary Art is the first authoritative survey of the history of collage from its origins through to the latest work being produced by artists today. From the traditional ‘cut and paste’ method through to digital, three-dimensional and installation work, and in the incorporation of contemporary concerns such as environment and commercialism, collage is experiencing an exciting renaissance.
Collage: Assembling Contemporary Art is the first authoritative survey of the history of collage from its origins through to the latest work being produced by artists today. Collage has a relatively short, but incredibly rich history. Dating back to the early 1900s, it first emerged in the work of artists such as Picasso,Braque and, later, the Constructivists and has since proliferated through figures like Kurt Schwitters, Max Ernst and the Surrealists, branching out into a myriad of fine art practice that encompasses assemblage, montage and décollage. The popularity of collage is on the increase again, partly as a result of such postmodernist concerns as pluralism, multiplicity and hybridity. This art form is also flourishing in other areas, ranging from the traditional `cut and paste' method through to digital and installation collage. Featuring works by international artists Picasso, Schwitters and Ernst, through to Hannah Hoch, Martha Rosler, John Stezaker, Richard Hamilton, Layla Curtis, David Salle, Eduardo Poalozzi, Javier Rodriguez, Robert Rauschenberg, Mimei Thompson, David Thorpe, Fred Tomaselli and many more. Collage: Assembling Contemporary Art also includes texts, by both academics and artists, which outline the history of the medium as well as critically addressing how collage is being used throughout contemporary art today.
It's no secret that both the MPAA and the RIAA have created so-called "educational campaigns" for students about copyright. These educational programs are incredibly one-sided, of course, and it's amazing that many schools actually allow this sort of corporate propaganda to masquerade as educational material. Even more problematic is when an entirely separate organization, supposedly offering a non-biased educational campaign, starts parroting the propaganda. The nonprofit National Center for State Courts, whose charter apparently is as an "organization dedicated to improving the administration of justice by providing leadership and service to court systems in the United States," has done just that. As part of that, it created a set of "graphic novels" (more like a pamphlets) designed to teach students how the court system works. Except the first such graphic novel actually teaches a bunch of RIAA propaganda about file sharing that is mostly flat-out false.
This blog is an ongoing exploration of issues related to copyright and fair use in our contemporary digital culture.The blog began and continued through April 2008 as a class project in Peter Friedman’s Legal Analysis & Writing classes at Case Western Reserve University of Law during the spring 2008 semester. The students wrote cross-motions for summary judgment in a fictional lawsuit brought by the owners of the copyright to "Que Sera, Sera (Whatever Will Be, Will Be)." The Plaintiffs (represented by half of my students) alleged infringement of their copyright in Que Sera, Sera by the KLF, the real-life creators of an actual recording entitled "K Cera Cera."K Cera Cera (mp3) is a recording of the Red Army Choir singing an amalgam of Que Sera, Sera and John Lennon and Yoko Ono's Happy Xmas (the War is Over). The second half of the students, of course, represented the Defendants.In the course of the students' work in researching and writing their summary judgment briefs, the professor and the students posted items here that raise and explore the legal and policy implications implicit in and related to the infringement claim and Defendants' fair use defense.The relevant documents the students had to work from were the following:
In light of the timeliness and open-endedness of the issues raised by the fictional lawsuit, the blog will continue despite the completion of the project and of the school year.
Collage: Assembling Contemporary Art is the first authoritative survey of the history of collage from its origins through to the latest work being produced by artists today. From the traditional ‘cut and paste’ method through to digital, three-dimensional and installation work, and in the incorporation of contemporary concerns such as environment and commercialism, collage is experiencing an exciting renaissance.ult of such postmodernist concerns as pluralism, multiplicity and hybridity. This art form is also flourishing in other areas, ranging from the traditional `cut and paste' method through to digital and installation collage. Featuring works by international artists Picasso, Schwitters and Ernst, through to Hannah Hoch, Martha Rosler, John Stezaker, Richard Hamilton, Layla Curtis, David Salle, Eduardo Poalozzi, Javier Rodriguez, Robert Rauschenberg, Mimei Thompson, David Thorpe, Fred Tomaselli and many more. Collage: Assembling Contemporary Art also includes texts, by both academics and artists, which outline the history of the medium as well as critically addressing how collage is being used throughout contemporary art today.
