Famous Collage Artists著名的拼贴艺术家

尹婵杰/译

Artists who make collages are not unified by their technique or a specific aesthetic for their work. Using this malleable and expressive medium， their instincts have shaped the way that we see and make images， as well as how we understand them.

拼贴艺术没有统一的技巧，也没有特定的审美，但因为可塑性强且具有表现力，艺术家得以通过拼贴展示创作天赋，并对世人观察创作、理解图像的方式都产生影响。

Some of the most famous collage artists have been able to evoke both serious complexity and irreverent absurdity， often simultaneously.

部分顶级拼贴艺术家的作品往往能同时唤起观者截然不同的感受，既真心觉得它富有内涵，又不屑地认为它荒诞不经。

Henri Matisse （1869–1954）

亨利·马蒂斯（1869—1954）

Henri Matisse’s cut-outs， created during the last decade of his life， had a significant impact on our contemporary understanding of collage art.  Henri Matisse’s final years were full of turmoil. Following a separation from his wife and the outbreak of World War II， the French artist was diagnosed with intestinal cancer， which caused him to be bedridden for months at a time. And yet， Matisse never surrendered his art to the distressing circumstances at hand.

法國艺术家亨利·马蒂斯在生命最后十年间创作的剪纸作品对当代人理解拼贴艺术具有十分重要的影响。马蒂斯的晚年飘摇动荡，和妻子分开，经历二战爆发，后又被诊断出肠癌，导致动辄就要卧床数月。但虽然面临诸多困境，他却从未因此放弃艺术追求。

When surgery to treat his cancer left him too weak to paint on canvases， Matisse shifted his artistic methodology and turned to cut paper as his primary medium， using scissors as his tool. His cut-outs， often inspired by the natural world or abstract forms， were arranged into lively compositions that transcended the confines of easel painting and allowed him to work with a new type of free reign.

手术之后的马蒂斯身体极度虚弱，无法在画布上作画，就改变创作方式，转而拿起剪刀，将剪纸作为主要创作手法。马蒂斯的剪纸灵感往往来自自然界或抽象图形，经过巧妙安排后构成一幅幅生动的作品。剪纸不受画架绘画的限制，使他能以一种新的形式继续自由创作。

The cut-outs also introduced a new operation in art， which came to be known as “drawing with scissors”.

马蒂斯的剪纸作品也催生了一种新的艺术实践，就是后来大家熟知的“剪纸绘画”。

Kurt Schwitters （1887–1948）

库尔特·施维特斯（1887—1948）

Kurt Schwitters was a German artist involved in both Dadaism and Constructivism， best known for his Merz and Merzbau works. He coined the term “Merz”1 to describe his unique style of art that involved using everyday objects to create his works.

德国艺术家库尔特·施维特斯是达达主义和建构主义的代表人物，最为出名的是其“梅尔兹”和“梅尔兹屋”系列作品。施维特斯创造了“梅尔兹”一词来描述他独有的艺术风格，即利用日常物品进行创作。

Schwitters uniquely produced images that combined oil painting on canvas with assemblage. He pasted and nailed the materials onto his surfaces. The different materials included ink pad stamps， ticket stubs， matchbooks， daily newspapers， photo clippings， garbage， and other everyday objects.

施维特斯用独特的手法将帆布油画和集合艺术相结合，把材料粘贴、钉于油画表面。他选用的材料五花八门，包括油墨印章、票根、火柴盒、日报、裁剪的照片、废弃物及其他日常物品。

To Schwitters， the material was of no consequence. His Merz pictures show only form， no content. He aimed to assemble these daily items into Cubist collages and find a rich and complex arrangement of material that negated the individual features of the objects creating new pictorial symbols.

对施维特斯来说，材料无关紧要，梅尔兹只为展示形式，不重内容。他意在把日常物件拼合成立体派拼贴作品，挖掘复杂丰富的组合方式，消解物品的个体特征，创造出全新的图画符号。

Increasingly， he began to blur the lines between collage and found art2. The And-Picture （1919） was seen as readymade， though it is a combination of collage， painting， and found objects.

施維特斯逐渐模糊了拼贴艺术和现成品艺术两者之间的界限，创作于1919年的《和图画》在当时被视为现成品艺术，但实际上融合了拼贴、绘画和现成品。

Hannah Höch （1889–1978）

汉娜·霍赫（1889—1978）

German artist Hannah Höch was considered an originator of the method of photomontage. Earlier in her career， she had been associated with Dada and in 1919， Höch worked at a large publishing house in Berlin where she became inspired by the printed imagery around her. Leafing through the many publications in her office， she began to cut out images that interested her. She arranged the images in jarring yet jovial juxtapositions whilst demonstrating restraint and embracing negative space.

德国艺术家汉娜·霍赫是蒙太奇摄影的鼻祖。霍赫在艺术创作早期属于达达派，自1919年起供职于柏林一家大型出版公司期间，因为经常接触印刷图片，受到很大启发，就在办公室众多出版物中翻找，发现感兴趣的图片就剪下。霍赫把图片组合成怪诞轻松的作品，从中能看出她的克制和对留白的认同。

The most famous Hannah Höch collage is “Cut With the Kitchen Knife through the Beer-Belly of the Weimar Republic” （1920）， which measures 90 by 144 centimeters. The masculine aesthetic was achieved through cutouts of war machinery， cogs， airplanes， and guns. Höch’s fascination with machines echoes the fast-paced destruction of industrialization.

霍赫最著名的拼贴作品是《用厨刀切除魏玛共和国的啤酒肚》，长144厘米宽90厘米，创作于1920年。作品通过战争机器、齿轮、飞机、枪支剪纸来表现出男性的审美，而她对机器的痴迷则呼应了工业化的迅速瓦解。

Höch’s most famous work， effortlessly titled ‘Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany’， shows her ideals and techniques in synthesis. A collage of newspaper clippings， the work challenges the racist and sexist codes upholding Weimar Germany. Throughout her career， Höch would challenge the marginalised place of women in twentieth century Germany. She drew together fashion magazines， illustrated journals and photography to pioneer a form bent on3 demonstrating that art itself could be collected from the everyday clutter of modern life.

轻松命名的《达达派用厨刀切除德国最后的魏玛啤酒肚文化纪元》是霍赫最为出名的作品，体现了她的艺术追求和合成技巧。这幅剪报拼贴作品对盛行于魏玛德国时期的种族主义和性别歧视准则提出了质疑，而霍赫在其整个艺术生涯始终都在质疑20世纪德国女性的边缘地位。她把时尚杂志、带插图的期刊和照片创新性地融合到一起，开创了一种形式，决意证明现代生活中的混乱日常中渗透着点滴艺术。

Man Ray （1890–1976）

曼·雷（1890—1976）

American painter Man Ray’s early work Landscape （Paysage Fauve， 1913） spoke a Cubist language. His Cubist landscapes were already close to collage but once the artist moved to Paris， his work became distinctly Surrealist.

美国画家曼·雷的早期画作《风景》是立体派作品，他的立体派风景画当时已接近拼贴艺术，不过在移居巴黎后，作品风格变成鲜明的超现实主义。

Man Ray interestingly used photography to create collage art that was not photomontage. In his 1922 ground-breaking book Les Champs Délicieux or “The Delicious Fields” Man Ray unleashed his Rayographs， more commonly known as photograms. Photograms are produced through a technique in which objects are laid onto light-sensitive paper which is exposed creating a strangely transparent collage.

曼·雷用攝影创作出不同于蒙太奇摄影的拼贴作品，颇具趣味。他在1922年出版的影集《迷人的田野》中，开创性地推出了“雷氏摄影”，更为人熟知的名字则是“物影照片”——把物体放置于感光纸表面进行曝光，由此生成一种奇异的透明拼贴画。

When the assembled objects were exposed to light， the photographic paper underneath the objects was not.

对光源曝光的是照相纸上的物体，照相纸本身并不曝光。

Man Ray chose objects that had different levels of translucence4， adding to the abstract aesthetic. The opaquer the objects， the more negative the space appeared though this was collage art that was ultimately about negativity. Cameraless photographs， objectless objects， and negative space5 negatives.

曼·雷挑选透明度不同的物体来增添抽象美感，物体越不透明，空间看起来负感更强。尽管这是拼贴作品，归根结底是利用了负感反转，不用相机拍的照片，没有物体感的物体，留白的底片。

Max Ernst （1891–1976）

马克斯·恩斯特（1891—1976）

Max Ernst was one of the most well-known Surrealist collage artists.

马克斯·恩斯特是最负盛名的超现实主义拼贴艺术家之一。

His image Murdering Airplane （1920） is a collage depicting a hybrid human and World War I fighter plane while two soldiers carry one of their wounded in the foreground. Ernst’s source materials included popular magazines and educational supplies catalogs. He created new meaning by combining contradictory images， dividing or multiplying them， and employing them as drawings.

他于1920年创作拼贴画《杀人的飞机》，画面主体是人与一战中的战斗机构成半人半飞机的怪物，前景中则是两名士兵搀扶着一名受伤的同伴。恩斯特的创作素材包括流行杂志和教育用品目录册，他将充满矛盾的图像组合起来，对其进行拆分或叠加，将它们作为绘画材料，从而创造出全新的含义。

Kara Walker （1969–Present）

卡拉·沃克（1969—   ）

Aside from the marvellous， 40-ton Sugar Baby， which turned out to be her most famous artwork to date， American artist Kara Walker is also known for her black and white silhouettes that have been pasted on the walls of many galleries worldwide to address African American racial identity. These figures are often involved in scenes of slavery， violence and conflict， inspired by traditional African illustration and folklore of the pre-Civil War United States. These cut-out collages and paste-ups actually represent a part of a larger idea， as there are also light projectors that cast the viewers’ own shadows straight into these narratives. This way， they would inevitably become a part of the artwork， unable to ignore it or walk away.

重达40吨的《糖娃》是美国艺术家卡拉·沃克迄今为止最知名的作品，不过她那围绕非裔美国人种族身份主题的黑白剪影作品同样闻名于世，常张贴在世界各地的美术馆墙上展出。受传统非洲插画和美国内战前民间故事的启发，作品中的剪影人物往往置身于奴隶制和暴力冲突的场景中。这些剪纸拼贴画和粘贴作品实际上只是宏大主题的一部分，还有投影机将参观者的影子直接投射到墙上，让他们也参与作品叙事。这种设计势必让观众也成为作品的一部分，既不能视若无睹，也无法转身离开。

Wangechi Mutu （1972–Present）

万盖奇·穆图（1972—   ）

One of the most important contemporary African artists today， Wangechi Mutu works across a variety of media， including video， performance， sculpture and of course collage， through which she investigates topics like gender， race and colonialism. Inspired by artists like Gustav Klimt and Egon Schiele， as well as movements like Surrealism， she composes imagery drawn from anthropological， medical and ethnographic texts， pornography and even Vogue magazine， calling out the violence that women， and black women in particular， endure in today’s society. Wangechi Mutu’s works on paper are often painted with ink and acrylic paint， and accompanied with materials like plastic pearls， 24 karat gold and latex.

万盖奇·穆图是最具影响力的当代非裔艺术家之一，其创作媒介多样，包括视频、表演、雕塑，当然还有拼贴——她通过拼贴来探索性别、种族和殖民等话题。穆图深受象征主义画家古斯塔夫·克利姆特和表现主义画家埃贡·席勒影響，超现实主义等运动也给了她启发。穆图从人类学、医学、人种学文本，甚至色情图片和Vogue杂志中寻找元素进行创作，展示女性，尤其是黑人女性在当今社会遭遇的暴力。穆图的拼贴画常用墨水和丙烯酸酯进行绘画，利用塑料珠、24k金和乳胶漆等材料进行拼贴。

Collage artworks can be quick and easy to assemble making， this a popular format among artists and amateurs. For this reason， it has also been criticized as low art or kitsch6. Nonetheless， its methods and materials make a collage a key tool for artists probing notions of identity， politics， and commodity culture.

拼贴艺术这一创作形式省时省事，备受艺术家和爱好者青睐，但也因此遭到批评，人们认为这种形式低级庸俗。然而，拼贴作品因为创作手法多样，材料来源广泛，一直是艺术家探究身份认同、政治以及商品文化等概念的主要手段。

（译者为“《英语世界》杯”翻译大赛获奖者；单位：南京晓庄学院）

1 Merz 德语词缀，施维特斯将其解释为一种哲学和一种生活方式。

2 found art 现成品艺术。

3 bent on一心要做某事。

4 translucence半透明。  5 negative space负空间，指画面主体以外的留白空间。

6 kitsch庸俗的艺术品。