{"id":2425,"date":"2013-11-14T01:50:38","date_gmt":"2013-11-14T06:50:38","guid":{"rendered":"http:\/\/kolajmagazine.com\/content\/?p=2425"},"modified":"2013-12-03T12:04:07","modified_gmt":"2013-12-03T17:04:07","slug":"cut-n-paste-moma","status":"publish","type":"post","link":"https:\/\/kolajmagazine.com\/content\/content\/articles\/cut-n-paste-moma\/","title":{"rendered":"“Cut ‘n’ Paste: From Architectural Assemblage to Collage City” at Museum of Modern Art"},"content":{"rendered":"

\"Ralph<\/p>\n

“Cut ‘n’ Paste: From Architectural Assemblage to Collage City” at Museum of Modern Art, New York
\n10 July-1 December 2013
\nExhibition review by Claudia-Eve Beauchesne<\/p>\n

For over a 100 years, Collage has been used in the creation of architectural renderings. \u201cCut \u2018n\u2019 Paste: From Architectural Assemblage to Collage City\u201d illustrates the history of collage\u2019s role in architectural representation. The exhibition draws from the MoMA\u2019s Architecture and Design collection and features plans and proposals by Le Corbusier, Oscar Niemeyer, Archigram, and Rem Koolhaas, among others. Unfolding chronologically, the exhibition retraces the use of techniques such as photocollage, assemblage and digital techniques indebted to collage in architectural renderings up to the present day.<\/p>\n

Some of the exhibition\u2019s more striking pieces are Ludwig Mies Van Der Rohe\u2019s little known photo-collages from the 1910s to the early 1960s. Mies Van Der Rohe pasted classical sculptures, natural textures (wood grain, water, etc.) and urban landscapes onto perspective line drawings to convey ideas for museums, monuments or convention halls. Influenced by the Berlin Dadaists\u2019 photomontages, the pieces are so abstract that it is nearly impossible for viewers to project themselves into these imaginary spaces. Because their formal appeal supersedes the spatial concepts that they portend to describe, his photo-collages can now be appreciated as works of art independently of their original function as architectural renderings.<\/p>\n

A section of \u201cCut \u2018n\u2019 Paste\u201d illustrates a theory put forth by the architectural thinkers Colin Rowe and Fred Koetter in their 1978 treatise Collage City<\/em>. Rowe and Koetter argued aesthetically successful cities are the result of the collision, superimposition and contamination of ideas imposed by successive generations of inhabitants. This section demonstrates Rowe and Koetter\u2019s concept by breaking the exhibition\u2019s chronological structure to feature a collage of works by mixed media artists, photographers, filmmakers and graphic designers who used techniques such as overlapping and juxtaposition to convey the fragmented nature and accelerated pace of urban life. Central to this part of the exhibition is Jacques de la Villegl\u00e9\u2019s 1968 d\u00e9collage, 122 rue du Temple<\/em>, a physical manifestation of the layering of ideas and influences that make up the contemporary collage city.<\/p>\n

By contrast, the successions of seamless computer-generated renderings included in the exhibition\u2019s final section are much less visually appealing. Although conceptually pertinent, these trompe-l\u2019oeil<\/em> images lack the expressive and tactile qualities of older architectural proposals featuring hands-on collage techniques. Still, it is fascinating to look at various proposals for projects such as the renewal of Times Square, the Museum of Modern Art\u2019s late 1990s expansion, and the World Trade Center Site memorial competition, and to imagine how New York City would look today if those concepts had been realized. A floor-to-ceiling digital rendering cut in wide strips doubles as the exhibition\u2019s exit, suggesting that the idea of a flexible and ever-shifting collage city is still relevant today. Didactic but conceptually sophisticated, \u201cCut \u2018n\u2019 Paste\u201d demonstrates how collage (considered both as a technique and as a theoretical concept) can bridge the gap between art, architecture and urbanism.<\/p>\n

This review appeared in Issue 6 of\u00a0Kolaj Magazine<\/em>. To get your own copy or to subscribe, visit\u00a0http:\/\/kolajmagazine.com\/content\/subscribe<\/a>.<\/p>\n

\n

INFORMATION<\/h3>\n

Museum of Modern Art<\/strong>
\n11 West 53rd Street
\nNew York, New York 10019 USA
\n(212) 708-9400<\/p>\n

Hours:
\nSaturday-Thursday, 10:30AM-5:30PM
\nFriday, 10:30AM-8PM<\/p>\n

MAP<\/a>\u00a0|\u00a0WEBSITE<\/a>\u00a0|\u00a0FACEBOOK<\/a><\/p>\n

Image:<\/strong>
\nArchigram 1961-74 (Museum f\u00fcr Gestaltung)<\/em>
\nby Ralph Schraivogel
\n50 3\/8\u201dx35 5\/8\u201d
\nsilkscreen
\n1995
\nGift of the designer
\nImage courtesy of the Museum of Modern Art, New York<\/p>\n","protected":false},"excerpt":{"rendered":"

“Cut ‘n’ Paste: From Architectural Assemblage to Collage City” at Museum of Modern Art, New York 10 July-1 December 2013 Exhibition review by Claudia-Eve Beauchesne For over a 100 years, Collage has been used in the creation of architectural renderings.…<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":6,"featured_media":2482,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"gallery","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","footnotes":""},"categories":[6,30],"tags":[],"jetpack_featured_media_url":"https:\/\/kolajmagazine.com\/content\/wp-content\/uploads\/Ralph-Schraivogel-Archigram.jpg","jetpack_shortlink":"https:\/\/wp.me\/p2QTD7-D7","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":2316,"url":"https:\/\/kolajmagazine.com\/content\/issues\/issue-6\/","url_meta":{"origin":2425,"position":0},"title":"Issue 6: Collage & the Album Cover","author":"Christopher Byrne","date":"2 October 2013","format":"gallery","excerpt":"Kolaj is a quarterly, printed magazine about contemporary collage. We are interested in how collage is made, how collage is exhibited, and how collage is collected. 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We decided to spruce up the layout of the\u2026","rel":"","context":"In "Issues"","block_context":{"text":"Issues","link":"https:\/\/kolajmagazine.com\/content\/category\/issues\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/K13-cover1.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/K13-cover1.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/K13-cover1.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":15578,"url":"https:\/\/kolajmagazine.com\/content\/content\/collage-exhibitions\/cut-paste-create\/","url_meta":{"origin":2425,"position":2},"title":"Cut Paste Create","author":"Christopher Byrne","date":"26 July 2024","format":"gallery","excerpt":"The Presence of Absence II by Cecilia Wangdimensions variable; digital collage; 2022. Courtesy of the artist. 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