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Best known for his extraordinary abstract collages, German artist Kurt Schwitters (1887-1948) is one of the most influential figures of the international avant-garde. Placing special emphasis on the significance of color and light in the artist's work and delving into the relationship between collage and painting, this volume accompanies the first U.S. retrospective of the artist's oeuvre in twenty-five years
Affiliated with the Dadaist and Constructivist movements in the years following World War I, Schwitters coined the term "Merz" to describe his life's ambition to "create connections, if possible between everything in the world." Schwitters's Merz gave new life to seemingly worthless objects of urban waste---train tickets, newspaper fragments, bits of wire---by using them as compositional elements in his installations, assemblages, soulptures, and collages. Hoping to unify life and art by incorporating everyday objects into his work, this pioneer of installation art came closest to his ideal with his Merzbau, the room-size walk-in sculpture he constructed, enfirely of found materials, in Hanover.
An illustrated chronology and 101 full-color plates of Schwitters's assemblages, reliefs, sculptures, and collages give particular emphasis to Merz art from the 1920s and 1940s. An in-depth look at the Hanover Merzbau is supplemented with photographs of the original work (it was destroyed in 1943) and of its reconstruction, 1981-83. Altogether, the works presented here not only illuminate the artist's response to the dominant art movements of his time but also illustrate Schwitters's unique contribution to composition and design. Essays by prominent scholars provide new insights on the artist who created poetry from the commonplace.
Affiliated with the Dadaist and Constructivist movements in the years following World War I, Schwitters coined the term "Merz" to describe his life's ambition to "create connections, if possible between everything in the world." Schwitters's Merz gave new life to seemingly worthless objects of urban waste---train tickets, newspaper fragments, bits of wire---by using them as compositional elements in his installations, assemblages, soulptures, and collages. Hoping to unify life and art by incorporating everyday objects into his work, this pioneer of installation art came closest to his ideal with his Merzbau, the room-size walk-in sculpture he constructed, enfirely of found materials, in Hanover.
An illustrated chronology and 101 full-color plates of Schwitters's assemblages, reliefs, sculptures, and collages give particular emphasis to Merz art from the 1920s and 1940s. An in-depth look at the Hanover Merzbau is supplemented with photographs of the original work (it was destroyed in 1943) and of its reconstruction, 1981-83. Altogether, the works presented here not only illuminate the artist's response to the dominant art movements of his time but also illustrate Schwitters's unique contribution to composition and design. Essays by prominent scholars provide new insights on the artist who created poetry from the commonplace.
作者簡介
Isabel Schulz is executive director of the Kurt und Ernst Schwitters Stiftung and curator of the Kurt Schwitters Archiv at the Sprengel Museum Hannover
Leah Dickerman is curator in the Department of Painting and Sculpture at the Museum of Modern Art, New York
Clare Elliott is assistant curator at the Menil Collection.
Gwendolen Webster is an independent scholar and expert on Schwitters.
Leah Dickerman is curator in the Department of Painting and Sculpture at the Museum of Modern Art, New York
Clare Elliott is assistant curator at the Menil Collection.
Gwendolen Webster is an independent scholar and expert on Schwitters.
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