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(b Los Angeles, CA, 1960).

American sculptor. Kersels graduated with a BA from the University of California, Los Angeles, in 1984, and later returned to the same institution to take an MA (1993–5). From 1984 to 1993 he was a member of a neo-Dada performance group, SHRIMPS, and this clearly influenced his sculpture, both in terms of its echos of performance and its tone of light-hearted absurdity and futility. His photographic series Tossing a Friend (Melinda 1, 2 and 3) (1996; see 1998 exh. cat.) is indicative of his interest in the consequences of accidental movement: a woman is shown, in various positions, being thrown in the air by the artist. Objects of the Dealer (1995; see Pagel, 1995) suggests a more critical edge to his anarchic humour: all the mechanical and electrical components on an art dealer’s desk were wired up to different microcassettes and whenever they were used music would come from some of the 26 speakers. His well-known ...

Term that refers to the technique of organizing various images into a single composition in both film and visual art. It is also frequently applied to musical and literary works that emphasize fragmentation and paratactic construction. In film, the term typically refers to the organization of individual shots to create a larger structure or narrative. This technique was developed most systematically by the film makers of the 1920s Russian avant-garde such as Sergey Eisenstein (1898–1948), Lev Kuleshov (1899–1970), and Vsevolod Pudovkin (1893–1953). In visual art, the term refers to the juxtaposition of disparate images in Collage and particularly Photomontage. Although this use of montage has a number of historical precursors, it was developed primarily in the 1910s and 1920s by artists associated with Dada, Surrealism, and Russian Constructivism such as George Grosz, John Heartfield, Hannah Höch, and Aleksandr Rodchenko. During the period after World War II, the technique became an increasingly routine practice in both advertising and the fine arts. In the late 20th century it has been most associated with the work of such figures as ...

(b Xiamen, Feb 19, 1954. d Ivry-sur-Seine, Oct 19, 2019).

Chinese installation artist, active also in France. Huang Yong Ping studied at the Zhejiang Fine Arts Academy (now the China Academy of Art) in Hangzhou, graduating in 1982. In 1986 he became one of the founders of Xiamen Dada, a group of artists famous for having burned their paintings after an exhibition (e.g. Event, 1986). This performance event and the group’s other activities were part of a broader national trend—known as the 1985 New Wave Movement—when a younger generation of artists began to experiment with all manner of styles and influences from outside China. Inspired by Chan Buddhism, Dadaism, John Cage, and Joseph Beuys’s works, Huang Yong Ping stood out for his conceptual approach and professed wariness toward art as a set value and a predefined concept. This philosophy led him to notably use chance and divination methods in his creation processes (e.g. Roulette Wheel: Four Paintings Created According to Random Instructions...