RECOMMENDED READ: "A Trove of Snapshots from a Sly Master of Collage," an article showcasing Ray Johnson’s photography from the last years of his life by critic Vince Aletti in The New Yorker (@newyorkermag).⁠ •⁠ Ray Johnson (@rayjohnsonestate), a master of the #collage, made work that was cryptic, obsessive, and densely allusive. It was Pop before the style had a name; his appropriated Elvis images predate Warhol’s.⁠ •⁠ Although many of his collage elements were photo-based, photography was never Johnson’s medium. In the case of these late photo works, it was primarily a means to an end—an easy way for him to document momentary interventions that he made in the local landscape. After constructing placards and signs in his studio, he’d place them on a parked car, a trash can, a cemetery, or a bench next to a life-size Ronald McDonald statue, and then take their pictures.⁠ •⁠ Learn more and read the full article via the link in our bio!⁠ •⁠ Image: Ray Johnson “flopped stranger wearing cutout bunny,” spring, 1992; “headshot and Terry Kistler silhouette with payphone,” winter, 1992; “Elvises and camera,” November, 1993. Courtesy of Ray Johnson Estate and The New Yorker.