This research examines the transformation of collage in art history, particularly its functionalization as a propaganda tool, within a historical and conceptual context. With the emergence of the Dada movement in the early 20th century, collage ceased to be a mere aesthetic form of expression; it became a tool for political, social, and cultural critique. The study aims to examine the historical development of collage, analyze the relationship between propaganda and artworks produced using this technique, and specifically highlight the contributions of modern and postmodern artists in this field. This research connects the political collage language, which began with Dadaist artists such as Kurt Schwitters and Hannah Höch, to current social issues through contemporary artists such as Barbara Kruger and Wangechi Mutu. A qualitative approach was adopted, utilizing art historical analysis, critical analysis, and conceptual analysis techniques. The selected artists and works were evaluated to reveal how collage was used not only as a formal tool but also as a critical and ideological tool. The research emphasizes that collage, through its practice of fragmentation and reconstruction, has the potential to render visible relations of identity, gender, the body, and power. It is to reveal that collage can be considered not only as an aesthetic choice in contemporary art practices, but also as a powerful propaganda strategy that fosters critical thought and social awareness.
Keywords: Collage, Propaganda, Dadaism, Visual Culture