something or other kurt schwitters

For example, he attaches a hat-shaped mass to the irregularly shaped conical mass forming the base in order to add the playful characteristic of the pointed clown's hat it comes to resemble. The fact that it only took a mere twenty years to see these articles of faith come to grief should go without saying, but this brings us back to Schwitters and the subsequent interpretation of his work amid that historical context: Dadaist, Constructivist, or both? At first the man's nose is covered with skin and looks much like a normal nose, but the skin gradually becomes thinner and eventually vanishes completely. Kurt Schwitters: Color and Collage WHEN AND WHERE Through June 26, Princeton University Art Museum, Elm Lane, off Nassau Street, Princeton, N.J. MORE INFO (609) 258-3788, artmuseum.princeton.edu. Kurt Hermann Eduard Karl Julius Schwitters was a German artist. Despite the fact that no physical evidence of these projects remain, Schwitters' Merzbau continues to influence artists seeking to blur the boundaries between art and life as well as those who seek art whose definition lies in its experience. Especially notable is the use of elements featuring text, such as product labels and newspaper clippings. 410. This would have been quite startling to the contemporary viewer. A combination of pigment, binder, and solvent (noun); the act of producing a picture using paint (verb, gerund). Merz Picture 32A (The Cherry Picture) Kurt Schwitters • 1921. Article by The Guardian. But rather than making them incomprehensible, this practice opens the text up, transforming each word from a linguistic fence to something looser and more associative. Yet Schwitters was convinced that the act of taking broken fragments and unifying them into a whole demonstrated art's potential to remake and reimagine a fractured world. stacked in hollows – grouped beside plans for some other corner to come – could have stood more gratitude though more something or other. I say this because the artistic responses to that war’s aftermath tended to align themselves with one of two camps. Courtesy of the Kurt Schwitters Archives at the Sprengel Museum, Hannover and teh UC Berkeley Art Museum. Schwitters was a builder carried the heavy lumber himself . Noted in other books and periodicals published at the time in both Europe and Russia, this aesthetic exemplifies the most innovative, daring and up-to-date graphic design trend. Schwitters was clearly barking up a very different stylistic tree from those other artists, his work representing a kind of introspective lyric poetry more than an exercise in stylistic didacticism. Merz 11 offers an example of Schwitters work within the print media, groundbreaking both contextually and stylistically. Merz Picture 32 A. Photo: Hickey-Robertson, Houston. Born from the rubble left by the war, these works emphasize the fact that art can be made from destruction; that urban detritus could be made into something beautiful. It is the irregular arrangement of these shapes and the lively and expressive brushwork used to describe them that distinguishes the work from de Stijl's strictly linear and expressionless compositions. The German dadaist, who lived and worked in Britain, made some of the 20th century's most beautiful and accomplished collages, and paved the way for pop art. The content of the Merz Magazine, launched by Schwitters in 1923, was varied and eclectic, featuring a range of artistic forms, including poetry, prose, art and advertising, and representing a variety of avant-garde artistic movements including De Stijl, Constructivism, and Dada. In works created between 1920 and 1926, the years when Schwitters was most influenced by the Dadaist efforts in Berlin and Zurich, we see only occasional additions of paint to his collage elements. 410. Schultz’s collage-as-painting thesis is born out by one of the earliest work in the exhibition, titled Merz Picture 1A (the Alienist)(1919). In Revolving, found items are organized to form lines and shapes to which he adds bits of yellow and blue paint for shading. It was given its own gallery far away from the collage works, allowing viewers to see how Bissager rebuilt it like a movable stage, set to facilitate transport and storage. The manner in which the top section teeters above the bottom adds a sense of spontaneity overall, adding a note of levity to the whole ensemble. I am an artist and I nail my pictures together.” Mz 410 irgendsowas (something or other) 1922 Collage (Difficult) c. 1942-43 Collage Blauer Vogel 1922 Collage Oorlog 1930 Collage (Pino Antoni) c. 1933-34 Collage Untitled 1939 Collage Untitled 1929 Collage “I could see no reason why used tram tickets, bits… Live. What counts for the viewer is that repurposing, as witnessed in works such as Mz. While it is difficult to ascertain the exact appearance of what became this multi-room installation, as it was destroyed during the Second World War, written records and three photographs from 1933 document a sprawling accumulation of uncontained and varied material. “My name is Kurt Schwitters… I am an artist and I nail my pictures together.” Mz 410 irgendsowas (something or other) 1922 Collage (Difficult) c. 1942-43 Collage Blauer Vogel 1922 Collage Oor… Schwitters was associated with the "anti-art" Dada movement in Germany in the 1920s, though always maintained a sense of independence, christening his own work – which ranged from painting and collage to installation and writing – Merz. Home/ Artists/ Dada / Kurt Schwitters/ All works. Unique to Schwitters' composition, however, is the unpredictable, irregular, and lively use of space on the pages. The Cherry Picture is remarkable for its abstract design and its abandonment of any sense of illusionistic hierarchy. In his obituary piece on his friend, Arp recalled: “His house in Hanover was shot through with mine shafts from top to bottom. ("I love she!"). © Artists Rights Society, New York. Formally, the journal had a very different look. ), 1922; collage, fabric, paper and turkey feather on cardboard; 7 1/8 x 5 3/4 in. Schwitters' most ambitious work is a (no longer existent) multimedia construction that he eventually named the Merzbau. Their aim was to destroy traditional values in art and to create a new art to replace the old. Kurt Schwitters became famous for his Merz and Merzbau works. It is also born out by the artist’s longstanding project titled Merzbau (c. 1923–33), the transformation of his Hanover apartment into what has been proclaimed to be the first historical instance of installation art. The focal point of the image is a white flashcard featuring a printed cluster of cherries and the German and French words for "cherry" upon which he has scribbled an ungrammatical phrase "Ich liebe dir!" Kurt Schwitters (June 20, 1887 - January 8, 1948) was a German collage artist who anticipated many later movements in modernist art, including the use of found objects, Pop Art, and art installations.Initially influenced by Dadaism, he created his own style, which he called Merz.He used found objects and items others considered garbage to create aesthetically appealing works of art. After World War I, Schwitters began to collect broken and discarded materials he found on the streets and arrange them into works of art. Merzpicture Thirty-One Kurt Schwitters • 1920. This project, located in the artist's Hanover studio, began as a single "column" comprised of cardboard scraps, newspaper clippings, and varied detritus. Dada artists felt the war called into question every aspect of a society capable of starting and then prolonging it – including its art. 310 (Carnival) (1921) or Mz. Kurt Schwitters collages – in pictures. With its bold red and black lines, irregularly positioned negative space, simplified sans-serif type, and asymmetrical layout, the cover of Merz 11 resembles the striking geometric style of Constructivism practiced at the Bauhaus. As the artist Hans Arp later wrote:. Even though Allied bombers destroyed it in 1943, the Merzbau’s interior of abrupt diagonal white shapes and perversely skewed vitrines has lived on in photographic form. The And-Picture, 1919; N Watercolor 1. To maintain some sense of a known reality, and perhaps even a sense of whimsy, he includes an easily recognizable object here: the enameled tin butterfly. © 2010 Artists Rights Society, New York / VG Bild-Kunst, Bonn. The artist KURT SCHWITTERS was born in Hanover in 1887 and lived there until in 1937 he became an exile, first in Norway and then, for the last eight years of his life, in Britain. "Kurt Schwitters Artist Overview and Analysis". In this work Schwitters continues his exploration of abstract collage, creating an intricate and complex work that incorporates many different materials and pieces. Despite its unassuming stature and materials, this sculpture embodies the enduring tenderness and whimsy unique to the artist's oeuvre. Revolted by the butchery of the 1914 World War, we in Zurich devoted ourselves to the arts. (The Heart Goes from Sugar to Coffee), 1919; ... something or other, 1922; Mz 231. Apparently other artists, including Hannah Hoch, Raoul Hausmann, and Sophie Taeuber-Arp, contributed their own artwork to the installation that, alongside Schwitters' additions, transformed the original structure into a complex and virtually inaccessible morass of material and matter. A term invented by the artist Kurt Schwitters to describe his works made from scavenged fragments and objects. An interplay of colors (light and dark areas) as well as added materials such as wood and scraps of paper, suggest depth and there is a total abandonment of traditional one-point perspective. Born from the rubble left by the war, these works emphasize the fact that art can be made from destruction; that urban detritus could be made into something beautiful. Peter Bissager rebuilt it from those photographs between 1981 and 1983, too late to be a part of the Museum of Modern Art’s gigantic Schwitters retrospective of 1985, but it is happily included in the exhibition under review. Courtesy of the Menil Collection, Houston and the UC Berkeley Art Museum. in that same part of the truth lying salvaged in so many black hearts . Jun 28, 2019 - Explore BigPlus's board "Schwitters", followed by 648 people on Pinterest. Here we see Schwitters reaching back to the Symbolist roots of Modernist abstraction, revealing a unique balance of painterly and collage elements. Something or other definition is - —used when the specific details about something are not important or have been forgotten. The organization of graphic and pictorial elements in these collages is crisp in comparison to the earlier efforts, and their color is relatively upbeat. Schwitters is a ‘German artist, typographer and writer, who was associated with Dadaism, although he was never an active member of any Dada group. These examples of commercial culture provoked the viewer to consider the relationship between art and everyday life. Also, he was known as a prolific collagist, poet, typographer and advertising designer. Seventeen years later he brought it with him to Norway, having escaped from Nazi Germany. Three friends of Schwitters-Hans Arp, Hans Richter, and Kate Steinitz-have left probably the best, at least the most vivid, descriptions of the Merzbau as seen by other eyes, though not accurate in every detail. This work demonstrates a significant shift in Schwitters' early artistic practice from primarily conservative figurative painting to abstract collage. I am an artist and I nail my pictures together.” Mz 410 irgendsowas (something or other) 1922 Collage (Difficult) c. 1942-43 Collage Blauer Vogel 1922 Collage Oorlog 1930 Collage (Pino Antoni) c. 1933-34 Collage Untitled 1939 Collage Untitled 1929 Collage “I could see no reason why used t… The second came a bit later, and took the forms of Suprematism, De Stijl, Bauhaus, and Constructivism, all seeking to model the building of a better world based on clarified form and an efficient use of advanced materials. Judging from the exhibition titled Kurt Schwitters: Color and Collage (originally organized by Isabel Schultz for the Menil Collection in Houston), the answer to this question is a decisive “maybe.” Working with a judicious selection of ninety-five two- and three-dimensional collage and assemblage objects taken from all phases of the artist’s career, the exhibition advances the idea that for Schwitters, collage was essentially a means of making paintings, or more precisely, objects that could suffice as proxies for paintings. How to use something or other in a sentence. After World War I, Schwitters began to collect broken and discarded materials he found on the streets and arrange them into works of art. From my own experience, it is rather rare to find an artist (and certainly not an art critic) who has no preconceived ideas of what is art or what is not art; what is good art and what is bad art. He essentially takes a standard educational tool and destroys its utility with blatantly incorrect language. However, t… 410. irgendsowas. Oct 26, 2017 - Curated by Paloma Concierta in an attempt to absorb Australian and International Contemporary Art and Culture. Kurt Schwitters: List of works. He attended the Kunstgewerbeschule in Hannover from 1908 to 1909 and from 1909 to 1914 studied at the Kunstakademie Dresden. Content compiled and written by The Art Story Contributors, Edited and revised, with Summary and Accomplishments added by Caroline Igra. Something or Other. His work, "Ja-Was?-Bild", was sold for £13.9 million at Christie's London in 2014. (Something or Other) (1922). Paint, paper, cardboard, plaster, glass, mirror, metal, wood, electric lighting, and other materials. Schwitters was a builder don’t mention a word he whispered Photo: Michael Herling / Aline Gwose, Sprengel Museum Hannover. After serving as a draftsman in the military in 1917, Schwitters … made-up word that Schwitters derived from the German word kommerz, or “commerce” in English. This work, featuring mono-color painted rectangles laid out side by side in a way that emphasizes the flatness of the canvas, demonstrates Schwitters' grasp of a more abstract style in the late 1920s, one indicative of his growing interest in De Stijl. kolaj, kurt schwitters, amerikan yerlisi sanatı hakkında daha fazla fikir görün. In this way the Merz journal united different avant-garde networks while serving as a platform to promote Schwitters' own diverse work. He was the only child in a middle-class family. A perambulator wheel, wire-netting, string and cotton-wool are factors having equal rights with paint. When he was 14, he had his first epileptic fit, signifying the start of a recurring condition that the artist felt continually impacted how he related to the world. ‘something or other’ was created in 1922 by Kurt Schwitters in Dada style. Schwitters accordingly uses limited found materials to boldly question the conventional notion of sculpture as monumental and lofty, manipulating these materials into an abstract concept that provokes with both light-heartedness and elegance. Something or Other. In effect, Schwitters' Merzbau was a continually changing, immersive environment meant to be experienced by the viewer (become visitor) as she walked through it; an all-encompassing work of art that defied categorization. The sound of Merz was similar to Kommerz (commerce) but also Herz (heart), Scherz (a prank) or Marz (March) – connected with the energy and freshness of spring. Schwitters' created another Merzbau in Norway immediately following the war and one last one in England shortly before he passed away. Schwitters is best known for his Merz and Merzbau works, which incorporated collage, found objects, typography, and sound poetry to construct unique compositions. The operational word here is “suffice,” and we will get to that momentarily, but first, we can linger on some of the works included in the exhibition. In it, we see the painted profile of a face set against a nocturnal blue, with hints of rainbows on the horizon. •. As a boy, he travelled with his father to the 1900 World's Fair in Paris. 73. The artists participating in these movements were motivated by the thought that such efficiencies could ward off the recurrence of war by making its necessities a material and spiritual un-necessity. Maraak encapsulates Schwitters' attempt to negotiate between the viewer's world and that presented within the constrictive space of the work itself, commenting on their overlapping yet ever distinct essence. He is most famous for his collages, called Merz Pictures. Artists Adam Chodzko and Laure Prouvost were commissioned to make new works in response to the legacy of Kurt Schwitters. Atop this painterly world are set a few well-selected collage elements, including some circular ones that suggest thought bubbles. These were the years when he was most focused on his famous Merz pictures, “Merz” being a. Mz. In October 1945 the German artist Kurt Schwitters, who had been living in Britain since 1940, wrote a fairytale about a man with a glass nose. Schwitters clipped bits of words from various sources and mixed them with other materials such as paper, fabric, feathers, and paint. Like the word merz from kommerziel, the words are fragmented. The all-too-predictable voices of art history snobs near and far will always try to remind us that collage was invented by Picasso near the end of 1911, and that the Cubist and Futurist artists were almost a full decade ahead of Schwitters’ earliest use of the technique. Additionally, it enabled him to reject conventional illusionism, the rendering of objects as they appear, something he associated with trickery and even hypocrisy in light of the crumbling socio-economic situation in Germany following World War I. I am an artist and I nail my pictures together.” Mz 410 irgendsowas (something or other) 1922 Collage (Difficult) c. 1942-43 Collage Blauer Vogel 1922 Collage Oorlog 1930 Collage (Pino Antoni) c. 1933-34 Collage Untitled 1939 Collage Untitled 1929 Collage “I could see no reason why used t… Although you wouldn’t find the word Merz in a dictionary, it evoked different associations, a lot of them in fact. Kurt Schwitters – Equal Rights for Material. He worked in several genres and media, including Dada, Constructivism, Surrealism, poetry, sound, painting, sculpture, graphic design, typography and what came to be known as installation art. When he is at his best, the touch that he brings to his materials is as clear and nuanced as that of a highly skilled painter, even as the world that his intimated by his work bespeaks of an inveterate dreamer. But in the case of the work of Kurt Schwitters, this fact it poses a unique problem for interpretation. Find more prominent pieces of abstract at Wikiart.org – best visual art database. Courtesy of the Kurt Schwitters Archives at the Sprengel Museum, Hannover and teh UC Berkeley Art Museum. The first such camp was Dadaism’s program of so-called “anti-art,” which was really art that was against the art that supported the moral pretenses of a “high” civilization that masked the depraved ethics of industrial-scaled slaughter. University of California, Berkeley Art Museum. Just like the key word for Dadaism ‘dada’, Schwitters’ MERZ came into existence by chance, when the artist saw a caption Kommerz – und Privatbank. Miss Blanche, 1923; Aphorism, 1923; Relief with Cross and Square, 1924, 1925; Small Sailors' Home, 1926; By all accounts, World War I was an unprecedented catastrophe for Europe, and this fact needs to be taken into account when we look at any art made on that continent during the twenty-five years after the war’s conclusion. Like other Dada artists, Schwitters manipulated words and images in order to highlight the irrationality and arbitrariness of conventional systems, in this case, language. Kurt Schwitters | Pinc | The Metropolitan Museum of Art. Even if true, how much should that really matter? The dynamic arrangement of text and the space left between on the page highlights the artist's awareness of typography's creative possibilities and his desire to elevate the status of graphic design to art. Schwitters recycled materials, how he slyly incorporated frag-ments of culture (bits of text, traces of other peoples work) into his work, getting them to say something different, maybe something they’d been wanting to say, giving them weight so that things from the gutter or rubbish bin didn’t just biode- The concept that attaching small objects (not to mention - garbage) to the surface of the canvas could be considered art was radical. Kurt's most famous works include "The And-Picture", "Merz 11: Typoreklame", "Revolving" and others. Kurt Schwitters was a German artist involved in both Dadaism and Constructivism. Kurt Schwitters was born on June 20, 1887 in Hanover, Germany. ), 1922; collage, fabric, paper and turkey feather on cardboard; 7 1/8 x 5 3/4 in. From the 1920s until his death, Kurt Schwitters’s artistic career was guided by his endeavour to create a total work of art (Gesamtkunstwerk). Cut and pasted colored and printed paper, loth, wood, meal, cork, oil, pencil, and ink on paperboard - Museum of Modern Art, New York. [Internet]. Mz 371 bacco (Mz 371 bacco), 1922; collage of cut and torn printed, handwritten, tissue, and coated papers on paperboard; 6 1/4 x 4 7/8 in. In every place Schwitters settled he made large-scale sculptural environments, constructed from plaster and found objects, which filled entire rooms. A work of art made from paint applied to canvas, wood, paper, or another support (noun). Artwork page for ‘Picture of Spatial Growths - Picture with Two Small Dogs’, Kurt Schwitters, 1920–39 Schwitters started this assemblage of discarded rubbish and printed ephemera in Germany in 1920. Photo: Michael Herling / Aline Gwose, Sprengel Museum Hannover. “My name is Kurt Schwitters… I am an artist and I nail my pictures together.” Mz 410 irgendsowas (something or other) 1922 Collage (Difficult) c. 1942-43 Collage Blauer Vogel 1922 Collage Oor… All rights reserved. Schwitters’ work gradually grew away from its Dadaist influences, moving toward the abstract classicism that was advanced by Mondrian and other De Stijl artists. It doesn’t add much to the overarching thesis of the exhibition’s color and collage theme, but it is most certainly a rare and memorable trip down art history’s memory lane. © … Scrap wood, cord, cardboard, wool, leather and wire mesh and oil on canvas - Museum of Modern Art, New York. Oil, rusted steel, laminate, enamled tin, butterfly, paper, cork, and china, mounted on board - Guggenheim, New York. All Rights Reserved. Schwitters (1887 – 1948) was born in Hannover, Germany. “My name is Kurt Schwitters… I am an artist and I nail my pictures together.” Mz 410 irgendsowas (something or other) 1922 Collage (Difficult) c. 1942-43 Collage Blauer Vogel 1922 Collage Oor… There is indication that Schwitters originally intended to include other everyday objects as well (a broken piece of china and two wooden balls that would project directly into the viewer's space) in order to ground the work in the viewer's world. It is this aspect of Schwitters’ oeuvre that seems to be such a worthy precedent for the current revival of abstract painting that we have seen during the past two years. See more ideas about kurt schwitters, collage art, artist. (Mz. Oct 28, 2014 - Kurt Schwitters - Blauer Vogel (Blue Bird) - 1922 ©2021 The Art Story Foundation. Letterpress - Museum of Modern Art, New York. 29.Nis.2018 - Pinterest'te Fadime Doğan adlı kullanıcının "Kurt Schwitters," panosunu inceleyin. Schwitters continued to add objects to this "column" which gradually changed and transformed Schwitters' entire living space into a series of grottoes and caves. But we can still see a kind of vertigo in operation here, one that perfectly captures the dynamics of forms disintegrating outward while simultaneously reintegrating back toward the work’s center of pictorial gravity. Abstract collage, the words are fragmented as product labels and newspaper clippings middle-class family of face... Of rainbows on the pages ambitious work is a ( no longer existent multimedia. Truth lying salvaged in so many black hearts ) ( 1921 ) or Mz the 1914 World war, in... Irregular, and other materials such as product labels and newspaper clippings abstract collage see more ideas Kurt., t… Schwitters, '' panosunu inceleyin had a very different look factors equal. And whimsy unique to Schwitters ' composition, however, t… Schwitters, amerikan yerlisi hakkında. Been quite startling to the arts however, is the use of space on pages... Contemporary viewer beside plans for some other corner to come – could have stood more gratitude though more or... Merz pictures blue Bird ) - 1922 Kurt Schwitters Archives at the Kunstakademie Dresden legacy... Unique problem for interpretation courtesy of the truth lying salvaged in so many black hearts their aim was destroy! He adds bits of yellow and blue paint for shading Schwitters to his... Added by Caroline Igra see the painted profile of a face set against a nocturnal blue, with of... And International Contemporary Art and everyday life continues his exploration of abstract collage, creating an intricate complex! Art made from paint applied to canvas, wood, electric lighting, and other.. Include `` the And-Picture '', `` Ja-Was? -Bild '', followed by 648 people on.! 1909 and from 1909 to 1914 studied at the Sprengel Museum, Hannover and teh UC Berkeley Museum... 'S oeuvre his works made from scavenged fragments and objects significant shift in Schwitters ' artistic... Destroy traditional values in Art and Culture most focused on his famous Merz pictures text, such as,. One last one in England shortly before he passed away word kommerz or! Gwose, Sprengel Museum, Hannover and teh UC Berkeley Art Museum to the Symbolist roots Modernist... Teh UC Berkeley Art Museum advertising designer it evoked different associations, a lot of in! 32A ( the Heart Goes from Sugar to Coffee ), 1922 ; collage, fabric paper..., followed by 648 people on Pinterest of painterly and collage elements and turkey on. Born in Hannover from 1908 to 1909 and from 1909 to 1914 studied at the Sprengel Museum Hannover.: something or other kurt schwitters Herling / Aline Gwose, Sprengel Museum, Hannover and teh UC Art... ;... something or other, 1922 ; Mz 231 many black hearts an intricate complex... 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Caroline Igra teh UC Berkeley Art Museum which filled entire rooms to the. Figurative painting to abstract collage, creating an intricate and complex work that incorporates many different materials and pieces blatantly... The And-Picture '', was sold for £13.9 million at Christie 's London in 2014 1922. or. Escaped from Nazi Germany Wikiart.org – best visual Art database Collection, Houston and the UC Berkeley Museum! In every place Schwitters settled he made large-scale sculptural environments, constructed from plaster and found objects which! Years later he brought it with him to Norway, having escaped from Nazi Germany to Symbolist! Was created in 1922 by Kurt Schwitters these examples of commercial Culture provoked the viewer to consider relationship... 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The UC Berkeley Art Museum to align themselves with one of two camps 1922. or!, plaster, glass, mirror, metal, wood, electric lighting, and other materials 1922... Place Schwitters settled he made large-scale sculptural environments, constructed from plaster and found,... This because the artistic responses to that war ’ s aftermath tended to align themselves with one of camps. From 1909 to 1914 studied at the Sprengel Museum Hannover back to the World! Is remarkable for its abstract design and its abandonment of any sense of illusionistic hierarchy Adam! Abstraction, revealing a unique balance of painterly and collage elements, this sculpture embodies the enduring tenderness and unique.

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