Towards an archaeology of gesture in Kurt Schwitters’ ‘Pointless’ collage (or how I ‘learned’ about Schwitters’ work through painting leftovers)
This article will discuss how an analysis of the readable gestures within the work of Kurt Schwitters (1887–1948) can provide a new way of experiencing his artwork in the present. Specifically addressing two artworks by Schwitters, Merzoil (1939) and Untitled (with Porcelain Shard) (1946), the article will use theoretical and art-practice-based methods to analyse the ‘stain’, to provide new insights into his working processes, relationship to materials and site. This research is aimed towards a better understanding of Kurt Schwitters’ final ‘Merzbau’ the Merz Barn Wall (1947) situated within the Hatton Gallery, Newcastle.
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Document Type: Research Article
Affiliations: Newcastle University
Publication date: 01 September 2018
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