Tigerman’s Epiphany: New photomontage update of “Titanic” unveiled at the Chicago Architecture Biennial

Architecture, Art, Midwest, News, On View
Wednesday, November 4, 2015
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Stanley Tigerman's follow up to his iconic 1978 "Titanic" image. Courtesy Chicago Architecture Club

Stanley Tigerman’s follow up to his iconic 1978 “Titanic” collage. (Courtesy Chicago Architecture Club)

On October 22nd, marking the 130th anniversary of the Chicago Architecture Club and as part of the ongoing Chicago Architecture Foundation‘s Currencies of Architecture exhibition, Stanley Tigerman unveiled a follow up to his 1978 “Titanic” photomontage. Entitled “The Epiphany,” the new image, somewhat ironically, is a protest against what Tigerman sees as a contemporary infatuation with icons.

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On View> MoMA presents “Cut ‘n’ Paste: From Architectural Assemblage to Collage City”

East
Thursday, July 25, 2013
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Ludwig Mies van der Rohe. Convention Hall project, Chicago. Interior perspective. 1954. (Courtesy ARS / VG Bild-Kunst)

Ludwig Mies van der Rohe. Convention Hall project, Chicago. Interior perspective. 1954. (Courtesy ARS / VG Bild-Kunst)

Cut ‘n’ Paste: From Architectural Assemblage to Collage City
The Museum of Modern Art
11 West 53rd Street
New York, NY
Through December 1

Cut ‘n’ Paste: From Architectural Assemblage to Collage City, on view at The Museum of Modern Art from July 10 to December 1, examines the essential yet overlooked role of collage in architectural representation. The exhibition places Ludwig Mies van der Rohe’s early photomontages next to the cut-and-pasted experiments of artists, photographers, and graphic designers. Together, these pieces suggest an immersive “collage city,” originally conceived by Colin Rowe and Fred Koetter in the 1970s, that becomes animated through superimposing various elements.

Continue reading after the jump.

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Pictorial> Jim Kazanjian’s Victorian Apocalypse

International
Tuesday, February 28, 2012
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Untitled (house), 2006. (Jim Kazanjian)

Untitled (house), 2006. (Jim Kazanjian)

Jim Kazanjian doesn’t make photographs of buildings, he makes photographs into buildings. His assemblages of “found” structures create fantastic worlds that resemble the post-civilization wreckage of 19th century England.  Through the collapse of time and expansion of space, each collage tells an eerie story about making the familiar unfamiliar.

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