Intended as a publication maquette, the original pasteup (owned by the Metropolitan Museum of Art) is composed of eighteen 8 1/2 x 11 «sheets of paper collaged with xeroxed photos and texts, typed text on notebook pages, handwriting, and tape; in the version exhibited here, these pages were reproduced
as photostats on nine 20 x 24» panels.
He enlarged his initial sketches
as photostats, traced them on gessoed panel, and completed an oil painting with a thinned color as if it were a watercolor.
Not exact matches
Romare Bearden's collage is typically associated
as beginning with his groundbreaking 1964 photomontage and
photostats, coming out of his particpation with the Spiral Group.
They didn't agree on what their position should be, or even how it should be dealt with in art,
as two contrasting, rarely seen examples displayed here posit: Bearden's figurative
photostat collages and abstract paintings by Norman Lewis.
The Word «Definitio,» (1966 - 1968), an early
Photostat enlargement of a dictionary entry for the word — definition; ‖ and Lawrence Weiner's A 36» x 36» Removal to the Lathing or Support Wall of a Plaster or Wallboard from the Wall (1968), a work which, according to the artist's statement, can be fabricated or can simply exist
as language.