Cubist collage made fragments of reality enter art as reality itself.
Evidence
‘The insertion of reality-fragments into the work of art fundamentally transforms that work’, Bürger argues. ‘The artist not only renounces shaping a whole, but gives the painting a different status, since parts of it no longer have the relationship to reality characteristic of the organic work of art. They are no longer signs pointing to reality, they are reality.’ By undermining the traditional view of the work of art as a self-contained ideal world mirroring the real world beyond it, Cubism also challenged the notion of art as an autonomous institution distinct from the rest of social life. — Alex Callinicos, Against Postmodernism, 238
Categorization
- XREF: Connects to Jameson’s discussion of the waning of affect and the loss of the ‘shell’ separating inside from outside in postmodernism. — connects to: Photorealist painting depicts photographs of reality, not reality itself — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 119; Collage fragments force a double reading against origin and new totality. — David Harvey, The Condition of Postmodernity: An…, 348; News-media detritus and pinup imagery formed the raw material of early sixties collage art. — J. Hoberman, Everything Is Now: The 1960s New York…, 138 (+2 more)
Broader Connections
- Collage fragments force a double reading against origin and new totality.
#expands(0.85) — David Harvey, The Condition of Postmodernity, 348 - Photorealist painting depicts photographs of reality, not reality itself
#contradicts(0.82) — Fredric Jameson, Postmodernism, or, The Cultural Logic…, 119 - News-media detritus and pinup imagery formed the raw material of early sixties collage art.
#exemplifies(0.78) — J. Hoberman, Everything Is Now, 138 - Surrealist layering of fragmented images persists across decades as a continuity
#expands(0.75) - Early performance work deliberately blurred the boundary between art and real life
#exemplifies(0.72) — J. Hoberman, Everything Is Now, 69