ASSEMBLANGE: A WORKING BIBLIOGRAPHY
These references make no pretense at providing a comprehensive review of all artists, here and abroad, who may be linked to the concept of assemblage, both yesterday and today. Citations are limited to texts accessible in the library. Between the polar limitations of time for investigation and space for publication, this bibliography reports selected titles of general interest (bibl. 1-40), followed by article and reviews (bibl. 41-108) and some relevant catalogues of galleries and museums (bibl. 109- 133). A group of miscellaneous citations on individual artists (bibl. 134- 226) indicates particular attention to Cornell, Duchamp, Man Ray, and Schwitters. Important bibliographies in special fields are listed (bibl. 227-232). The preparatory research for visual material relevant to assemblage is also listed (bibl. 32). This investigation of widely scattered textual and pictorial resources will be transferred to continuous microfilm and positive paper prints. To this research for image, Lucy Lippard and K.L.McShine have lent their trained academic talents and earned the deep appreciation of this bibliographer. It is expected that educational colorslides of many objects in the show will be provided by Sandak, Inc., the Museum's authorized agency, and black-and-white slides by Taurgo of New York. BERNARD KARPEL Librarian of the MuseumGENERAL REFERENCES
1. APOLLINAIRE GUILLAUME. The Cubist Painters: Aesthetic Meditations, 1913. New York, Wittenborn, Schultz, 1914.
Documents of Modern Art, no. 1, ed. by Robert Motherwell.
Bibliography on Apollinaire and cubism by B. Karpel.
2. APOLLINAIRE GULLAUME. Calligrammes. Paris, Mercure de France, 1918.

Frequently reprinted.

3. Aspects of Modern Art. p. 63-81, 101-105Paris, Lausanne: Bernier; New York, Reynal, 1957.
4. "Selective Eye, III", selected translations and illustrations from the magazine L'Oeil. Includes "The Apollinaire collection" by G. Limbour.-- "The international dada" by M.Seuphor.-- "André Bréton's collection" by A. Jouffroy.
5. BANHAM REYNER. Theory and Design in the First Machine Age. p. 106-126London, Architectural Press; New York, Praeger, 1960.

Chap. 9: Futurism. -- Note on futurist typography, p. 111.

6. BARR ALFRED H., JR. Cubism and Abstract Art. New York, Museum of Modern Art, 1936.

A basic text prepared for an exhibition; illustrations and bibliography.

7. BARR ALFRED H., JR. Fantastic Art, Dada, Surrealism. Essays by Georges Hugnet, 3 ed. rev. New York, Museum of Modern Art, 1947.

First edition prepared for an exhibition of 1936; bibliography and chronology.

8. BRETON ANDRÉ. Les Manifestes du Surréalisme [etc.] Paris, Le Sagitaire, 1955 (c. 1946).
9. COHN ROBERT G. Mallarmé'sUn Coup de Dés: an Exergesis. [ New Haven] Yale French Studies Publication, 1949.

Originally a doctoral dissertation. Also enlarged edition: L'Oeuvre de Mallarmé: Un Coup de Dés. Paris, Librairie des Lettres, 1951. Includes reduced facsimile of 1914 Mallarmé text.

10. DEMISCH HEINZ. Vision und Mythos in der Modernen Kunst. Stuttgart, Verlag Freiesn Geistesleben, 1959.
11. DICTIONNAIRE ABRÉGÉ DU SURRÉALISME. Paris, Galerie Beaux-Arts, 1938.

Definitions, with numerous illustrations. Also insert: Exposition Internationale du Surréalisme, Jan.-Feb. 1938.

12. EHRENZWEIG ANTOM. The Psycho-analysis of Artistic Vision and Hearing London, Routledge &. Kegan Paul, 1953.

"An introduction to a theory of unconscious perception."

13. FRANKESTEIN ALFRED. After the Hunt. Berkeley & Los Angeles, University of California Press, 1953.

"Willam Harnett and other American still life painters, 1870- 19000." Also see bibl. 167.

14. FRIEDMAN B. H., ed. Scholl of New York: Some Younger Artists. New York, Grove; London, Evergreen Books, 1959.

Includes Jasper Johns, Robert Rauschenberg, Richard Stankiewicz and others. Biographical notes.

15. GIEDION-WELCKER CAROLA. Contemporary Sculpture. 2. ed. rev. New York, Wittenborn, 1961.

Biographies, illustrations; extensive by B. Karpel.

16. GOLDING JOHN. Cubism: a History and an Analysis, 1907-1914. p. 103-107 et passim New York, Wittenborn, 1959.

See index references to collage and papier collé, as well as numeous footnotes and citations, e.g. Section d'Or ( Paris, Oct. 9, 1911), p.104, "The first written discussion of collage" by M. Raynal. Bibliography, p. 188-189.

17. GREENBERG CLEMENT. Art and Culture. Boston, Beacon, 1961. "Critical essays" including collage, reviews, etc.
18. HAFTMANN WERNER. Painting in the Twentieth Century. 2 v. New York, Praeger, 1961.

A revision of the original German edition: Vol. I, Text--II, Plates. Both volumes include commentary and illustrations. Numerour biographies and repproductions (including 55 colorplates); deals in books 5 with "the evocative possibilities of the materials" and relative forms.

19. HUNTER SAM. Modern American Painting and Sculpture. New York, Dell, 1959.

Collage, p. 86, 91, 172-173, 183-184. -- Cornell, p. 184, pl. 48.

20. JANIS HARRIET and BLESH RUDI. Collage. New York, Chilton, 1961.
21. JEAN MARCEL. The History of Surrealist Painting. With the collaboration of Arpad Mezei, New York, Grove, 1960.

Translated from the French ( Paris, Éditions du Seuil, 1959).

22. JONES BARBARA. Follies and Grottos. London, Constable, 1953.
23. KAPROW ALLAN. Paintings, Environments, and Happenings [typescript]. [ Old Bridge, N.J., July 16,1960].

Mss. of work in preparation. Extract published in Jackson Gallery

-166-

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The Art of Assemblage
Table of contents

Table of contents

  • Title Page 3
  • Contents 5
  • Foreword and Acknowledgments 6
  • Introduction 9
  • The Liberation of Words 13
  • The Liberation of Objects 21
  • The Collage Environment 72
  • The Realism and Poetry of Assemblage 81
  • Attitudes and Issues 87
  • Notes 150
  • Photograph Credits 152
  • Catalogue of the Exhibition 153
  • Assemblange: A Working Bibliography 166
  • Index 174
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