Published posthumously, this article begins with a discussion of the historiography – and a related exhibition history – of the terms collage, photo-collage, and photomontage; and of the criteria that have been used to distinguish them as techniques, as visual idioms, and for their political implications and resonances as images of fine or applied art. The article then moves on to the work of two living artists who have been cutting and pasting photographs for more than forty years, Martha Rosler and John Stezaker, and the ambiguities of their being described as collagists, monteurs, or photomonteurs. In rethinking these categories, Evans argues for an expansive history of photomontage and collage that has continuing resonance today.

中文翻译：

---

剪切和粘贴

这篇文章是死后出版的，首先讨论了拼贴、照片拼贴和照片蒙太奇的历史编纂——以及相关的展览历史；以及用于将它们区分为技术、视觉习语以及它们作为美术或应用艺术图像的政治含义和共鸣的标准。然后，文章转向两位在世的艺术家，他们已经有 40 多年的时间剪切和粘贴照片，玛莎·罗斯勒 (Martha Rosler) 和约翰·斯特扎克 (John Stezaker)，以及他们被描述为拼贴画师、蒙特尔或摄影大师的含糊之处。在重新思考这些类别时，埃文斯认为蒙太奇和拼贴画的广泛历史在今天仍然引起人们的共鸣。