Stezaker John

John Stezaker been born in 1949 in Great Britain.

There are few documents on the course and the step of John Stezaker. He however exposed in the best Museum d contemporary art and his paintings faces in l permanent exhibition of the Tate gallery in London on the collage.

John Stezaker’s work re-examines the various relationships to the photographic image: as documentation of truth, purveyor of memory, and symbol of modern culture. In his collages, Stezaker appropriates images found in books, magazines, and postcards and uses them as ‘readymades’. Through his elegant juxtapositions, Stezaker adopts the content and contexts of the original images to convey his own witty and poignant meanings.

Coupling male and female identity into unified characters, Stezaker points to a disjointed harmony, where the irreconciliation of difference both complements and detracts from the whole. In his correlated images, personalities (and our idealisations of them) become ancillary and empty, rendered abject through their magnified flaws and struggle for visual dominance.
In using stylistic images from Hollywood’s golden era, Stezaker both temporally and conceptually engages with his interest in Surrealism. Placed in contemporary context, his portraits retain their aura of glamour, whilst simultaneously operating as exotic ‘artefacts’ of an obsolete culture. Similar to the photos of ‘primitivism’ published in George Bataille’s Documents, Stezaker’s portraits celebrate the grotesque, rendering the romance with modernism equally compelling and perverse.

They involve images taken by a myriad of sources and arranged in a grid representing transistors, as described by Anne Bartlett Ayres: "The image of radios and serves as a" base "is a collage receiver deities and demons , An issuer of talismans and secret codes: Hebrew letters, crosses of all kinds, locks, keys and doors; fragments of Greek and Eastern sculptures, photographs by contemporary religious leaders appeared in newspapers; naked women, portions of bodies, heaps of 'Stars; rifles and snakes and birds and roses and mushrooms.

In its brief and intense life Berman devoted this relentless pursuit of the unspoken and yet the "unscribed." in 1957, its first and only public exhibition at the Ferus Gallery, was closed by the LAPD and Berman was arrested for displaying what was then regarded as "pornography." As a result of the indignity to which he has undergone it withdraws from the scene of public art completely. Berman abandoned Los Angeles and moved to San Francisco, returning in 1963 to Topanga Canyon where he lived and worked until his death. Berman left Los Angeles and moved to San Francisco, back in 1963 in Topanga Canyon, where he lived and worked until his death in 1976.

According to Freedom of the Centre Pompidou exhibition Los angeles 1955 - 1985