By Rona Cran
Emphasizing the range of twentieth-century university practices, Rona Cran's e-book explores the position that it performed within the paintings of Joseph Cornell, William Burroughs, Frank O'Hara, and Bob Dylan. For all 4, college was once an incredible inventive catalyst, hired cathartically, aggressively, and experimentally. Collage's catalytic influence, Cran argues, enabled each one to beat a most likely destabilizing concern in illustration. Cornell, confident that he was once an artist and but hampered by way of his lack of ability to attract or paint, used college to achieve entry to the artwork international and to teach what he was once able to given the ideal medium. Burroughs' formal issues of linear composition have been became to his virtue by way of university, which enabled him to maneuver past narrative and chronological requirement. O'Hara used university to navigate a good course among plastic paintings and literature, and to settle on the points of every which most fitted his compositional sort. Bob Dylan's self-conscious software of college concepts increased his model of rock-and-roll to a degree of heightened aestheticism. all through her ebook, Cran exhibits that to delineate university stringently as something or one other is to critically restrict our knowing of the paintings of the artists and writers who got here to take advantage of it in non-traditional methods.
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Extra resources for Collage in Twentieth-Century Art, Literature, and Culture: Joseph Cornell, William Burroughs, Frank O'Hara, and Bob Dylan
57 Mayakovsky and Rodchenko collaborated on Pro eto (That’s What) in 1923, with Mayakovksy writing the agonising epic parable of love and ultimate loss (‘a squirrel’s cage where / I go round and round / feeling more and more alone’58), and Rodchenko supplying eleven photomontages designed to interweave with the text, and further highlight the interrupted semantics and disordered grammar of the poem. Pro eto is related to the collage sound-poem Zang Tumb Tuuum, disseminated by Italian Futurist Filippo Marinetti as an artist’s book in 1914.
Html [Accessed 8 May 2013]. 139 Interesting as they are, however, to labour these connections, or missed connections, too much, would only be distracting. My intention is to emphasise the different ways in which collage was used by different artists in overlapping periods and with links to the same geographical location: they are not, on the whole, linked through similarities of technique, as will be made clear, and it is often the differences between them that cast their individual uses of collage in the most revelatory light.
The narrative action here segues into a fragmented, filmic cultural autopsy, as Burroughs cuts sharply away from the subway train where the protagonist is regaling a ‘square’ commuter with a lurid tale to the sordid visualisation in mosaic of the contents of the East River. For O’Hara the city was so much a part of his poetry that portrayals of it fragment and filter through his entire oeuvre: sometimes it was a character in its own right, addressed directly as in ‘Steps’ (‘How funny you are today New York’ [CP, 370]), whilst at other times it provided the flickering backdrop for a meditative afternoon walk as in poems such as ‘A Step Away from Them’ and ‘The Day Lady Died’.
Collage in Twentieth-Century Art, Literature, and Culture: Joseph Cornell, William Burroughs, Frank O'Hara, and Bob Dylan by Rona Cran