“Against the assault of laughter, nothing can stand.”
— Mark Twain
The evolving medium of collage betrayed its sense of humor from the outset, over a hundred years ago. There are countless variants of humor — satire, sarcasm, incongruity, hyperbole, mild irony, outright farce — to cite merely a few. 
Most, if not all, have presented themselves in a collage format during the tumultuous century that followed. From my point of view, the humor we may find in Dada and Surrealism are byproducts of the movements’ overarching goals. But, we might ask, was the avant-garde intending to be funny at times, or were they deadly serious about weaponizing shock value as a visual tactic, bequeathing any laughs to those of us who would arrive many decades later? On the other hand, how can poking fun at established traditions and ideologies not be classified as humor? I welcome the thoughts of all readers who have chuckled at the work of Hannah Höch, or sensed dark amusement in a Max Ernst composition. Even when outrage from a target group is the primary objective, a subversive artist also may be hoping to elicit a humorous response from those of like mind. As we know, humor, like beauty, rests in the eye of the beholder.
Eduardo Paolozzi created his whimsical Bunk! collage series in 1947. During that same year, Kurt Schwitters, 
with the bulk of his far-reaching breakthroughs behind him, displayed his acknowledged sense of humor when he created “For Kate.” Both were envisioning the coming thing — Pop Art (Popism) — a movement to throttle the contemporary scene some 20 years later. Steve Martin got it right when he explained, “Chaos in the midst of chaos isn’t funny, but chaos in the midst of order is.” Did Mark Twain anticipate a Mel Brooks and how the art of stimulating laughter could enable a towering denunciation of fascism? Are there times when creativity’s greatest power is best unlocked with a joke?
Now indulge me as I feature a few examples of humor in collage from artists that have touched my funny bone. I must admit that this subject brings to mind Terry R Flowers, perennial wit in the art form. It would be too easy to fill a screen with an array of his artistic wisecracks, especially in his role as veteran collaborator with Robert Hugh Hunt.
Some of these practitioners rely on a minimalist, juxtapositional approach — a sort of comedic “one-liner” — while others evoke a wry quality with a more complex effect. Perhaps nothing is more subjective than humor, so let them speak for themselves.
You’re encouraged to bring others to my attention, and I’ll prepare a follow-up entry!
