When Schwitters died, he was poor and largely forgotten by the art world. But the rise of assemblage and neo-Dada in the 1950s and '60s brought a renewed interest in earlier forms of radical conceptual innovation.
I like the term intervention when referring to my painting process. I just try to react off of things...marks on the painted surface, purposely warping a stretcher bar, cutting something then putting it back together. I want to create a scenario in which I have to fix something.
Like Kurt Schwitters before her, Julie Schenkelberg breathes life into the lost and forgotten.
From a distance, the works included in Kurt Schwitters: Color and Collage at the Berkeley Art Museum and Pacific Film Archive possess the austere look of any work of "high art."
A stunningly horrendous car crash. A windshield smashed in by a wooden stump. A shard of white light cutting sharply through a smoke cloud which rises...
The vintage worlds of fairgrounds, Victorian curios, cultural detritus and memorabilia have been Sir Peter Blake's passion for most of his life.
