At the same time, the image wryly challenges gender inequities, as a small map in the lower right shows the only countries that allowed women the vote. The asymmetrical composition reflects both the chaos of World War I, and the anarchic opposition borne of its aftermath. Implicitly commenting upon Weimar society, the work assembles images of establishment figures around the phrase "anti-dada" while various anti-establishment radicals and artists cluster around the word "DADA". Their "photocollages" draw attention to the seams between images with the goal of creating more intangible and more conceptual impressions amongst their audiences.ġ919 Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in GermanyĬomposed of clippings from mass media, this large photomontage combines images of industrial machines, leading contemporary figures, and text, in disruptive but ironic juxtapositions. Pop artists brought photomontage closest to the fields of collage and contemporary photographers such as Lorna Simpson and John Stezaker, have extended the collage effect beyond ironic playfulness.In this respect, their images pay homage to the very earliest form of "combination printing" though in these contemporary works technology has allowed the artist to blend different geographical sites and settings into whole new localities. Contemporary artists, such as Jeff Wall and Andreas Gursky, have exploited the boundless possibilities of digital technology to create transparent and seamless images out of multiple photographic exposures.Indeed, Surrealism effectively unshackled photomontage from its propagandist function and in so doing it widened the appreciation of the art form amongst an audience that wondered at the range of its new creative possibilities. ![]()
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