![]() ![]() Matte photo prints have a contemporary lustre finish which gives a subtle, almost texture like appearance. However, a gloss finish is not advised if you plan to frame your prints behind glass because gloss prints are more likely to stick to the glass and give a “wavy” effect. Gloss photo prints really bring out the vibrant colours in your photos and can make some bright colours “pop”. Infused with a Goya-esque nightmarish quality, often underscored by a dark humour, her panoramic friezes frequently borrow from historical textbooks to mirror the stereotypical ways in which African Americans were depicted in the antebellum south – with exaggerated features and engaged in extreme acts of violence or sexual explicitness. Walker's use of silhouettes subverts what was originally a genteel tradition in American art history, reserved for family portraits and book illustrations, using it to poke holes in the romanticised vision of America's past (and indeed present).Collage Photo Prints Printed Using Premium Fuji Photo Paper With Your Choice of A Gloss or Matte Finish Gloss Photo Prints ![]() Arguably her most famous works are those carried out in paper, featuring black cut-out silhouettes placed on vast, white tableaux, the overall effect evocative of shadow puppetry. 1969) is a painter and collage artist whose uncompromising, frequently provocative work probes at themes of race and gender, examining the atrocities of the past and the ongoing tensions that still exist in the United States today. Her photomontages in the 1960s, for example, often merged magazine photography with depictions of ideal homes to disjointed effect, highlighting the disconnect between the two and shattering the illusion of domestic bliss. While in works like Cold Meat I, Cold Meat II and Hot Meat, female torsos blend with kitchen appliances, linking the frequently commodified female flesh to the preparation and consumption of food.Īfrican American artist Kara Walker (b. ![]() Most of her early collage work sought to deconstruct the representation of women in the mass media, as well as the domestic expectations placed upon them. Thematically, her art spans a broad range of topics, from everyday life and the media through architecture and the built environment, often approached from the female perspective – she is also a leading critical voice within contemporary feminist discourse. Here, we spotlight three of our favourite contemporary female collage artists exploiting the medium to potent socio-political effect.Īmerican artist and theorist Martha Rosler (b. 1943) works across many mediums, including video, installation and performance, but her most distinctive pieces are her arresting photomontages and photo-text works. Dadaist Hannah Höch was one of collage's foremost pioneers and surrealist Eileen Agar made waves with her vibrant social critiques, but even with such icons paving the way, women remain under-represented in the world of collage. It is somewhat surprising then, that when early 20th century artists found themselves driven by the First World War to use whatever scraps of media they could get their hands on – from newspapers and photographs to propaganda posters – to create montages which, by their very nature, brimmed with political and satirical intent, female collage artists were few and far between. Since the beginning of culture as we know it, female artists have been innately connected to the tradition of reassembling fragments from the world around them to create artworks of their own – whether it be in stitching squares of fabric to create a sprawling patchwork quilt, or in weaving together stories from folklore to adapt and evolve fairytales to recount to children. ![]()
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