000			03731nam a2200517 i 4500
001			99131306953206421
003			KOHA
005			20250314120111.0
008			250303s2024 njua 001 0 eng d
020			_a9780691253749 _q(hardback)
020			_a9780691253756 _q(eBook)
040			_aMiAaPQ _beng _erda _epn _cMiAaPQ _dMiAaPQ _dTR-IsMEF
041	0		_aeng
050			_aTT910 _b.G69 2024
100	1		_aGowrley, Freya _eauthor.
245	1	0	_aFragmentary Forms : _bA New History of Collage / _cFreya Gowrley.
250			_aFirst edition.
264		1	_aPrinceton : _bPrinceton University Press, _c2024.
264		4	_c©2024
300			_a399 pages : _billustrations ; _c28 cm.
336			_atext _2rdacontent
337			_aunmediated _2rdamedia
338			_avolume _2rdacarrier
504			_aIncludes bibliographical references (pages 380-390) and index (pages 391-396).
520	0		_aWhile the emergence of collage is frequently placed in the twentieth century when it was a favored medium of modern artists, its earliest beginnings are tied to the invention of paper in China around 200 BCE. Subsequent forms occurred in twelfth-century Japan with illuminated manuscripts that combined calligraphic poetry with torn colored papers. In early modern Europe, collage was used to document and organize herbaria, plant specimens, and other systems of knowledge. In the eighteenth and nineteenth centuries, collage became firmly associated with the expression of intimate relations and familial affections. Fragmentary Forms offers a new, global perspective on one of the world’s oldest and most enduring means of cultural expression, tracing the rich history of collage from its ancient origins to its uses today as a powerful tool for storytelling and explorations of identity. Presenting an expansive approach to collage and the history of art, Freya Gowrley explores what happens when overlapping fragmentary forms are in conversation with one another. She looks at everything from volumes of pilgrims’ religious relics and Victorian seaweed albums to modernist papiers collés by Pablo Picasso and Georges Braque and quilts by Faith Ringgold exploring African-American identity. Gowrley examines the work of anonymous and unknown artists whose names have been lost to history, either by accident or through exclusion. Featuring hundreds of beautiful images, Fragmentary Forms demonstrates how the use of found objects is an important characteristic of this unique art form and shows how collage is an inclusive medium that has given voice to marginalized communities and artists across centuries and cultures. _uhttps://press.princeton.edu/books/hardcover/9780691253749/fragmentary-forms?srsltid=AfmBOoqHzfn5RU8FG0LmS97NhSNxVNtYbj9rHnCoYKmtnNrLzFDzKnII
650		0	_aCollage _xTechnique
900			_aMEF Üniversitesi Kütüphane katalog kayıtları RDA standartlarına uygun olarak üretilmektedir / MEF University Library Catalogue Records are Produced Compatible by RDA Rules
910			_aPandora.
942			_2lcc _cBKS _01
970	0	1	_aCONTENTS _p4.
970	0	1	_aINTRODUCTION, _p9.
970	1	2	_l1. _tNEW MATERIAL POSSIBILITIES, _p22.
970	1	2	_l2. _tDIVINE COLLECTIONS, _p52.
970	1	2	_l3. _tKNOWING AND OWNING THE WORLD, _p96.
970	1	2	_l4. _tMATERIAL PROLIFERATIONS, _p150.
970	1	2	_l5. _tDESIRE AND DEVOTION, _p198
970	1	2	_l6. _tCRAFT INTO CANON, _p242.
970	1	2	_l7. _tOBJECTS OF MODERNITY, _p290.
970	1	2	_l8. _tRADICAL POSSIBILITIES, _p330.
970	0	1	_aCONCLUSION, _p375.
970	0	1	_aBIBLIOGRAPHY, _p380.
970	0	1	_aINDEX, _p391.
970	0	1	_aACKNOWLEDGEMENTS, _p397.
970	0	1	_aCREDITS, _p398.
999			_c38399 _d38399