Auntie Foo Checks Back In ... Yum!

Ah yes, what a BOLD approach to human physiognomy, i must admit, in those collages you show here!

And yet, being a Hoech aficionado I'll have to insist it wasn't Mr Paolozzi but Hannah Hoech who first applied a human silhouette cut out in her collage work, back in 1931, in "Die starken Maenner" (cf. http://www.focus.de/kultur/kunst/hannah-hoech_did_15093.html ... pls select pic 9). In fact already her 1919 work "Da Dandy" features the silhouette of a male head in profile which she filled with clippings of female faces. And 1918 was the year when that famed and fab dada couple, Hoech and Hausmann, invented the photo montage, I'm told?

I'm sure you're all familiar with her paintings where Hoech liked to transfer collage work onto canvas, and I especially love her 1925 painting "Roma" (featuring Asta Nielsen and Mussolini) where Hoech also included two negative forms, i.e. painting the Nielsen composite photosources sans those parts she had cut out and used in her center montage —— which obviously shows Asta N. urging Mussolini (after his seizing power in 1922) to get the hell out of Rome... (http://www.focus.de/kultur/kunst/hannah-hoech_did_15093.html)

Ach, what a great and free spirit, our girl from Gotha? After ditching that bitchy Hausmann guy Hannah shacked up with the female dutch writer Til Brugman in 1926 and in 1938 married Dr Kurt Heinz Matthies whom she'd met on on a Dolomiten Wandertour; Herr Dr Matthies being much younger than her (two decades, sources say).

Like in her essay DIE ERSTEN FOTOMONTAGEN she wrote: "Ein wundersames Neuland, das zu entdecken als erste Voraussetzung hat: Hemmungslosigkeit. Aber nicht Disziplinlosigkeit."

Whoa!! "artandmoney" comment below (with URL) is talking about "Fuck Face," which sold for $173,336.

Jake and Dinos Chapman (b. 1966 and b. 1962)
Fuck Face
fibreglass, resin, paint, fabric, wig and trainers
40½ x 22 x 9 7/8in. (103 x 56 x 25cm.)
Executed in 1994

Speaking of f*** faces, some Chapman bros 3-D toddler version recently fetched quite a sum @ Christie's in London (http://www.christies.com/LotFinder/lot_details.aspx?from=salesummary&pos=9&intObjectID=5335329&sid=db65edfe-f4a7-4110-b377-7c9721759fdd).

I'll object to the comment stating Neasden Control Centre "only use(d) old b/w '60s or '70s snippets in their work", which is simply not true. They did use color pix too. But who knows, there may indeed be a little Paolozzi synch here since Mr Paolozzi repeatedly said in interviews how the trading cards of his childhood (given to him by customers of his father's store) were a source for his ways of image processing or coming to terms with imagery in later years, and it seems he even kept some of those cards and used them in his early collage work (according to a 1973 interview) —— and with Neasden CC, considering the time bracket of their preferred collage source material seems to be identical with their growing up or formative years?