News-media detritus and pinup imagery formed the raw material of early sixties collage art.

Evidence

Beat Coast East featured the usual suspects (Corso, Ginsberg, Kerouac, Diane di Prima, LeRoi Jones). It also included a cheerful, Ginsbergian riff by stand-up poet Hugh Romney, “Three [ambivalent] Poems for Cuba” by Daisy Aldan, and a detail from Les Lions, the title and centerpiece of Boris Lurie’s first one-man show—an eight-by-six-foot collage of clippings, ads, headlines, and art reproductions trapped in a web of painted color. … Smaller and not quite as busy, Lurie’s Liberty or Lice was finished days ahead of the show, incorporating, among other things, a headline noting the May 2 gas-chamber execution of Caryl Chessman, placed in ominous proximity to a large Jewish star. — J. Hoberman, Everything Is Now, 138

Categorization

• ADDENDUM: Lurie’s collage mixing ads, headlines, and pinups is a direct visual precursor to the ‘we are all spectators at our own death, narcotized detachment’ critique — could support the Grafting article’s argument about how images become the ignored infrastructure of a scene.
• XREF: connects to: Cubist collage made fragments of reality enter art as reality itself. — Alex Callinicos, Against Postmodernism: A Marxist…, 238