An overview of John Stezaker’s film still collages, this book showcases the evolution of the artist’s relationship with a specific material.
John Stezaker began his ongoing series of film still collages in 1979; the result of a period that marked a crucial change in the direction of the artist’s work, which had previously been centred around a text-based ‘conceptualism’.
The series moves with Stezaker’s changing interests; using stills from classic American-period Hitchcock films as raw material before shifting towards the undistinguishable mass of 1940s and early 1950s low-budget studio films.
Featuring collages based on a combination of film still excisions and superimpositions, this ongoing series is catalogued comprehensively for the first time in this volume.
Bringing together Stezaker’s earliest film still collages to his most recent, full-colour illustrations are accompanied by an essay by David Campany and a conversation between the critic and the artist.
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FORMAT: Pbk, 8.25 x 10.63 in. / 144 pgs / 63 color. LIST PRICE: U.S. $29.95 LIST PRICE: CANADA $45 ISBN: 9781905464418 PUBLISHER: Ridinghouse AVAILABLE: 4/1/2011 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
An overview of John Stezaker’s film still collages, this book showcases the evolution of the artist’s relationship with a specific material.
John Stezaker began his ongoing series of film still collages in 1979; the result of a period that marked a crucial change in the direction of the artist’s work, which had previously been centred around a text-based ‘conceptualism’.
The series moves with Stezaker’s changing interests; using stills from classic American-period Hitchcock films as raw material before shifting towards the undistinguishable mass of 1940s and early 1950s low-budget studio films.
Featuring collages based on a combination of film still excisions and superimpositions, this ongoing series is catalogued comprehensively for the first time in this volume.
Bringing together Stezaker’s earliest film still collages to his most recent, full-colour illustrations are accompanied by an essay by David Campany and a conversation between the critic and the artist.
