He used rubbish as he thought he should show what he thought rela art was using people's old trian tickets he used to go around and pick up rubbish around streets
Dresden Academy, 1909-14
Kurt Schwitters has written: 'Aller Anfang ist Merz' -- subject(s): Exhibitions, Collage, Assemblage (Art), Influence 'Wir spielen, bis uns der Tod abholt' -- subject(s): Correspondence 'Pppppp: Kurt Schwitters Poems, Performance, Pieces, Proses, Plays, Poetics (Border Lines: Works in Translation)' 'Schwitters. [Exhibition] March-April 1963' 'Merz=Kurt Schwitters' -- subject(s): Exhibitions 'Das literarische Werk' -- subject(s): Protected DAISY 'Kurt Schwitters: Catalogue Raisonne' 'Die Geschichte vom Hasen' -- subject(s): Hares, Fiction 'Kurt Schwitters' -- subject(s): Artists, Biography, Criticism and interpretation, Exhibitions, Kunsthalle Basel 'A-N-N-A!' 'Anna Blume und andere Literatur und Grafik' 'Kurt Schwitters in exile' -- subject(s): Exhibitions 'Die Scheuche' 'I Build My Time' 'An Aside' -- subject(s): Art, Modern, Modern Art, Exhibitions 'An exhibition of 75 collages by Schwitters' 'Kurt Schwitters Merzhanky' 'Tran nr. 30 Auguste Bolte' 'Kathedrale' 'Kuwitter' 'A flower like a raven' 'Schwitters' -- subject(s): Exhibitions
Kurt Schwitters' oval construction, known as "Merzbau," utilized a variety of materials, including wood, plaster, metal, and found objects. He incorporated everyday items like newspapers, packaging, and other discarded materials, reflecting his innovative approach to collage and assemblage. This eclectic mix created a three-dimensional space that embodied his artistic philosophy of "Merz," emphasizing the integration of art into everyday life. The work was a dynamic and evolving installation, showcasing Schwitters' commitment to the idea of art as an immersive experience.
In Kurt Schwitters' work, "relief" refers to a sculptural technique where three-dimensional elements are integrated into a two-dimensional surface, creating a sense of depth and texture. This approach often involves the use of found objects and materials, reflecting Schwitters' innovative Dadaist style and his interest in the interplay between art and everyday life. His reliefs challenge traditional boundaries of art, inviting viewers to engage with the piece from multiple perspectives. Ultimately, relief in Schwitters’ context embodies a fusion of collage and sculpture, emphasizing the transformative potential of ordinary materials.
Osvaldo Romberg has written: 'Osvaldo Romberg und der Merzbau von Kurt Schwitters' 'Transactions (architectural installations, 1980-2005)' -- subject(s): Architecture in art, Installations (Art), Exhibitions 'Osvaldo Romberg: ikvot binyanim' 'Transactions (architectural installations, 1980-2005)' -- subject(s): Architecture in art, Installations (Art), Exhibitions 'Transactions (architectural installations, 1980-2005)' -- subject(s): Architecture in art, Installations (Art), Exhibitions
The short answer is: They do not. In your opinion they always select rubbish art. OK. But do you really mean that your personal taste should guide the rest of the world? Or are people allowed different opinions?
Kurt Moldovan has written: 'Kurt Moldovan' -- subject(s): Catalogs, Circus in art, Salzburger Landessammlungen Rupertinum 'Moldovan sieht Spanien' -- subject(s): Spain in art
Neil Elliot has written: 'Rubbish in art'
The rubbish that is collected from the slopes of Mount Everest by Sherpas every year is either burned, recycled or even made into art.
Kurt Kocherscheidt has written: 'Augen-Echo' -- subject(s): Photography, German Art, Exhibitions
Kurt Nagel has written: 'Das Fleischerhandwerk in der bildenden Kunst' -- subject(s): Butchers in art, Meat in art 'Erfolg durch effizientes Arbeiten, Entscheiden, Vermitteln und Lernen'
Kurt Lehnstaedt has written: 'Prozessionsdarstellungen auf attischen Vasen' -- subject(s): Processions in art, Vase-painting, Greek