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15 APRIL 2014

Henri Matisse: The Cut-Outs at Tate Modern

Tate Modern: Exhibition, 17 April–7 September 2014

"Henri Matisse is a giant of modern art. This landmark show explores the final chapter in his career in which he began 'carving into colour' and his series of spectacular cut–outs was born. ...

In his late sixties, when ill health first prevented Matisse from painting, he began to cut into painted paper with scissors to make drafts for a number of commissions. In time, Matisse chose cut–outs over painting: he had invented a new medium. ...

For the first time ever, we are broadcasting live into cinemas around the country with an exclusive film about the exhibition. Matisse Live offers an intimate, behind–the–scenes view of the artist via beautiful footage of the works, interviews with his friends plus rare archive footage of Matisse at work."

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CONTRIBUTOR

Simon Perkins
29 MAY 2009

The Photomontages of Hannah Höch

"The 'bob–haired muse', the 'holy shears' and 'Dada's good girl' are a few of the epitaphs that prevail in the comfortable little niche art history has carved out for Hannah Höch. These sound bites are seriously challenged by this travelling retrospective organised by the Walker Art Center. 'The Photomontages of Hannah Höch' momentously reconstructs her marginalised role in early 20th–century art and perhaps even ordains her as the single most influential female artist of the century. The exhibition surveying Höch's 55 years of photomontage not only rescues her from the anti–art antics of the legendary Berlin Dada circle but inclusively chronicles her private and aesthetic journey through the social and cultural constructs that have emerged in the 20th century. While she may have been remembered by her bombastic Dada colleagues for her 'sandwiches, beer and coffee', her lifetime of artistic practice reveals a vital and critical woman who could magically collide disparate reproductions of needlepoint patterns, political figures, film stars, animal life and non–Western artefacts into explorations of androgyny, Aryan activity, gender roles, imperialism, race and lesbianism."

(Michelle Grabner, Issue 33 March–April 1997, Frieze Magazine)

Fig.1 Hannah Höch "Entwurf für das Denkmal eines bedeutenden Spitzenhemdes", 1922, Entwurf, Tafelmalerei, Collage, 27,4 x 17 cm, Hamburg, Hamburger Kunsthalle, Ikonographie (Iconclass)

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TAGS

1920s • abstract collage • aesthetic journey • androgyny • anti-art posture • anti-composition • artartistartistic practiceBauhaus School • Berlin Dada • collagecoloured papercultural constructs • cut-and-sew lines • cut-outDadadecorationdecorative arts • decorative beauty • decorative sewingdesign formalismearly 20th centuryembroideryembroidery design • erotic photomontage • female activity • female artist • female features • female leisure • feminist artist • film starformal elementsFrieze (magazine)gender rolesgenetic engineering • good girl • handicraftHannah Hoch • hausfrau • homosexualityillustrative styleimperialism • kitchen knife • manipulative propaganda • marginalisation • mens work • modern womanmodernist tradition • needlepoint patterns • New Weimer Woman • non-Western artefacts • photomontage • pictorially ordered • political satirequeernessretrospective exhibitionRussian constructivismsewing and craftsocial construction • social constructs • traditional crafts • tulle netting • tulle patterns • typography • vital and critical • Walker Art CenterWeimar Republicwomanwomen artistswomen in art and design • womens activities

CONTRIBUTOR

Simon Perkins
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