Archive for the 'Applied Arts' Category

It’s Complex, Man

Saturday, October 26th, 2019

“Look, man, I’ve got certain information, all right? Certain things have come to light. And, you know, has it ever occurred to you, that, instead of, uh, you know, running around, uh, uh, blaming me, you know, given the nature of all this new shit, you know, I-I-I-I… this could be a-a-a-a lot more, uh, uh, uh, uh, uh, uh, complex, I mean, it’s not just, it might not be just such a simple… uh, you know?”
— The Dude (from The Big Lebowski)
 

I’m super pumped (in the, uh, parlance of the day), because tonight is The Big LeBOWLski Arty Party to benefit the arts in Lexington and Central Kentucky, and it’s a delight to be a part of it!

It’s Complex, Man is my contribution to the fundraising event. Ten regional creatives will have their bowling-pin art in the silent auction, and we’ll split the purchase price 50/50 with LexArts, the sponsoring organization. How many nonprofits offer that deal when artists are asked to donate their creative labor to a cause?

Crafting this piece was pure fun, with pleasant allusions to my Mrs. Bradshaw chair. There are ample references to the Coen Brothers picture, but it’s not only an homage. I revisit my practice of juxtaposing high literacy with the pulpy preferences that many of us harbor. If you’re weary of seeing that in collage art, “Yeah, well, you know, that’s just, like, your opinion, man.”

Rumor has it that The Dude will make an appearance. Let’s go bowling!

50 Years

Saturday, July 20th, 2019

It does seem like a very long time ago . . .

Second International Collage Art Exhibition

Saturday, June 15th, 2019

“One year ago, on 24th April, Retroavangarda Gallery held its opening exhibition in the modern office building complex Jerozolimskie Business Park in Warsaw. Since that day, many great artists and guests have visited the gallery. A big thank you to all artists and visitors!”
— Anna Kłos
 

I became aware of Dr Anna Kłos almost from the time she was instrumental in opening Warsaw’s Retroavangarda Gallery in 2018, which immediately hosted its first high-profile collage exhibition. As the gallery’s director, she used her evident social networking skills to quickly develop a strong presence on the worldwide stage of contemporary collage. I wasn’t nearly as impressed with this capability as with her curatorial acumen as a design historian and modern art scholar.

It was on this basis that I was profoundly gratified with her invitation to be a part of Retroavangarda’s second International Collage Art Exhibition to mark the institution’s first anniversary. It more than made my day when I was notified that all six of the works that I sent to Poland were selected for display and acceptance into the gallery’s permanent collection. With more than 200 works by 76 artists from around the world, Kłos organized the show under the honorary patronage of the Embassy of Argentina, the Embassy of Brazil, and the Embassy of Peru. The exhibition opened on April 4th, followed by a well-attended reception that included dignitaries from the three embassies. The show closes today, and jetting to Warsaw wasn’t possible for me, although I would have been thrilled to personally experience what was obviously a landmark compilation of exceptional collage artwork. The dynamic Anna, whose PhD dissertation was on Dadaist collage, is also a fine artist, lecturer, graphic design instructor at the Warsaw School of Information Technology, and curator of their WIT gallery.

It is a distinct privilege to be among the few North Americans selected to participate in one of the largest showcases of fine art collage ever held in Central Europe. Other artists from the USA with displayed work include Allan Bealy and Nikki Soppelsa, previously featured here, in addition to Angela Holland and Claire Dinsmore, both new to me. Please visit Anna’s facebook page and the Retroavangarda site to view images from the exhibition. Everyone interested in the art of collage will want to follow her ambitious activities in Poland.
 

 

 
 

 

 

The six collage miniatures exhibited at Retroavangarda Gallery were:
Blind the Mocking EyeFaded RecollectionsTruth Be ToldA Dirty FamilyA General AffairMyrmidons

With a whole bunch o’ help from my friends . . .

Wednesday, May 22nd, 2019

“While many modern-day album artworks tend to favor strict minimalism, The Beatles make a serious case for going bold and wacky without any type of restraint.”
— Nicole Singh
 

As promised, I’m devoting an entry to the project that kept me out of the collage studio for at least a dozen weeks. I shall beg your forgiveness at the outset for delving into the details of a digital process. Not only has this site kept a seven-year focus on traditional cut-and-glue techniques, but I haven’t indulged the applied-arts side of my multiple personality as a graphic artist. I’m going to depart from that now — perhaps just this once — because it’s been an extraordinary circumstance for me, and a few of you may find the description worthwhile. At any rate, I encourage everyone to read Patrick Roefflaer’s article for a story that is genuinely more interesting than mine!

Not so long ago, a prominent local musician and former brass band director took me aside at an exhibition opening. Based on her recognition of my fondness for collage, she asked me if I would take on a visual homage to the Sgt. Pepper’s album cover design. The purpose would be to mark the 30th production of the Great American Brass Band Festival, held each June in our hometown of Danville, Kentucky. It had always been her dream to link the announcement of her retirement at the annual weekend of concerts to the classic album, with a medley of tunes arranged for brass instruments. Sadly, a severe health crisis had forced her early retirement before that could happen, but she preserved hope that a multi-discipline Beatles tribute for the festival’s upcoming milestone might happen in 2019.

I’d already designed nine posters during the festival’s lifespan. To create a tenth was tempting, and this idea had a barbed hook. It really snagged me. My previous experience offered no sense of proportion about the magnitude of time to which I was committing myself when I said, “Sure.” The first obstacle was whether we were allowed to do it at all. we soon discovered that an enormous number of entities had made a visual salute to the famous image over the past fifty years, and that it had already become a ritual of pop culture, in spite of the complexities involved. There’s even a website that shows over a hundred previous parodies. Before long, we had mutually decided that it might as well be our local festival’s turn to pay homage.

The assignment was now in my lap, and I was overwhelmed with a desire to do it justice and exceed expectations. I found inspiration in filmmakers who I admired (like John Frankenheimer or Robert Altman), because their time-consuming approach would be required for what I’d bitten off. I wanted to bring the same passion, attention to detail, and collaborative leadership to my effort. I ended up shelving all other priorities and putting a ludicrous amount of time into the project, but not without the help of many partners. First and foremost was my wife, Dana, who jumped in head first to play a key part in nearly every aspect of the creative enterprise. After getting advice from an experienced model railroader, she began crafting a miniature flower garden to display the festival acronym for a mandatory foreground allusion. More than once, she would come back to the unfinished artifact to find that its spongy base had “spit out” some of the “flowers.”

The rest of it hinged on two important elements — whether we could pull together our own “Fab Four,” and then surround them with a crowd of numerous figures. It was determined that the Beatles would be “represented” by the previous directors of the Advocate Brass Band, a Golden-Age-style band associated with every festival. Their initial formation to color a political rally in 1989 was a direct influence on the organizing of the annual event itself. This made perfect sense because the foursome would include the festival’s pair of co-founders and their band uniform jackets, although not psychedelic, would be an effective visual reference point. We immediately knew that some digital sleight of hand would be called for, since only two of the four were locally present. One was near a university town many counties away, and the fourth had moved to a distant state. It took lots of coordination to solve that equation, and we pulled it off with the crucial participation of my friend, photography pro Bill Griffin, who took time away from his day job of wealth management. In keeping with the guiding theme of “a little help from our friends,” getting all the ingredients for the poster art to coalesce would demand the magnanimous assistance of others — furnishing space, props, and standing in at our photo shoot, plus image research and acquisition.

At a certain point, I began to focus on researching the background “crowd of fans,” to honor the countless performers, organizers, sponsors, staff, and volunteers who made three decades of festivals possible. It became a daunting, complicated task of culling and selection. I realized that the poster would be the size of a picnic table if everyone who deserved to be on it were included. The original setup by Jann Haworth and Peter Blake was peopled with life-size, hand-tinted cut-outs that imposed a certain physical limitation, and it was fabricated within two weeks. A virtual approach was too open-ended for comfort. There was a limit to how methodical I could become in choosing ingredients for the montage of faces. The solution was to approach it more intuitively, as I would any of my “maximalist” works.

All collage art worthy of the name is irrational at some level, and one of the reasons the original Beatles art is so iconic is the sheer illogic of it. And so, for us, that idea led to a few incongruous personalities, such as Carrie Nation and Howdy Doody. The final assembly was challenging, painstaking, rewarding, and fun, all at the same time. After refining the list of candidates and compiling the source files, each master image had to be sillouetted, retouched, color balanced, and optimized for inclusion. It seemed like the rearranging would never end before every element of the composition appeared to “belong.” I shall confess that I do not possess a powerhouse workstation. The increasing quantity of digital layers in Photoshop had to be continuously merged to prevent the composite file from paralyzing my Macintosh. Even so, it would often exceed 500 MB in size. I tried to save and back up as often as feasible without breaking stride, but there were periodic freezes that would result in “three steps forward and two steps back.”

There should be no misunderstanding, however. The marathon endeavor was punctuated by many fortunate, often astonishing developments. One of our “Fab Four” individuals made a vital connection with an outstanding photographer in Athens, Georgia, who went the extra yard in matching my parameters for an important superimposition of the black-suited Dr Foreman. He also shot an antique bass drum to add another convincing Sgt Pepper’s touch — the same one that appeared on the festival’s first poster in 1990, and it still had the original, hand-painted emblem! Dana took the lead in preparing the poster “mechanical” for offset production, as she always has done for Dixon Design. She also knocked one out of the park during the solicitation of bids. As a contribution to the landmark production, Mike Abbott of Thoroughbred Printing agreed to produce the job at cost, and spent an hour with the press operator, Dana, and me, making sure we were satisfied with the quality.

Our closing duty was to devise a printable key for identifying all the individuals and design elements. My original idea of including a longer “blurb” for each line item quickly became far-fetched when producing the abbreviated version dragged on. By the time we declared it done, the “labor of love” vibe had been exhausted. There wasn’t much love left in the air, and I just wanted all of it to hit the street, which it has, of course, and the positive response has been even more than I anticipated.

This post is already far too long, so I won’t get started on my Eva Marie Saint story, but I need to explain why we included a picture of the creators, and then I’ll finish up on an appropriate collage note. I was adamant that I would not fall prey to the Hitchcock Urge. I had no interest in, nor justification for, inserting myself, since I was making so many brutal choices to leave others on the cutting room floor. Dana was in total agreement, but the team of people who helped with the proofing process took an opposing viewpoint. Their collective drum beat was that the final rendition must include us! You can see that we eventually waved the white flag and stuck a small portrait on top of the Bourbon barrel.

A tiny figure seated at a kitchen table was provided by the Great American Dollhouse Museum as a nod to the Shirley Temple doll in the original composition, which also featured a Madame Tussauds wax figure of Sonny Liston on the opposite side. I knew there had to be a way to include Kentucky’s own Muhammed Ali in our version. Rather than take unavailable time to solicit permission to use a photograph that might get buried in the sea of faces, I turned to my friend Robert Hugh Hunt, who kindly let us insert the extraordinary collage portrait from his 20th Century Icons series!

Oh, I get by with a little help from my friends!
 

30th GABBF Poster
digital homage by Dana and John A Dixon
24 x 36 inches
Purchase one now! 
 
Online order page includes a printable key to identification, 
plus a ‘special thank you’ to all our essential collaborators!

Holiday Market opening reception is tonight

Friday, November 16th, 2018

 
 
 
 
 
 
 

November inevitably brings a year-end uptrend in studio production, if not in my volatile stock portfolio. In addition to releasing a set of new note cards featuring five of my Christmas-tree miniatures, I made two spontaneous artworks for display during Danville’s Holiday Market at the Community Arts Center, which hosts its opening reception tonight. Composed with somewhat more restraint than my typical “maximalist” creations, I am very interested in the response they elicit. Last year’s event was a record-setting kickoff for the season. Shall I be seeing you this evening?
 

   

two new “stocking stuffers” —
 
Gift of Grape (currently on consignment)
and
Fortune’s Conspiracy
(sold)
 
Buy Gift of Grape now.

‘more!’ or ‘more?’ — You decide.

Saturday, November 3rd, 2018

Some collage ideas can be best described as a Rorschach.
 

more
collage Rorschach by J A Dixon
7 x 11 inches
private collection

Precursors have precursors

Tuesday, August 21st, 2018

“We do not analyze works of art because we want to imitate them or because we distrust them.”
— Paul Klee
 

The other day the world learned about an unpublished Ernest Hemingway short story. If there had not been a Mark Twain first, would literature know Hemingway’s writings at all? Could there have been an Isaac Asimov, Stan Lee, or Gene Wolfe without a Verne or Burroughs? The J.K. Rowling body of work without an Austen or Tolkien? Similarly, all of today’s rock music can be linked to direct influences — to bands such as Ramones, Led Zeppelin or the Beatles, which, of course, had their own precursors. Would jazz exist in its current form without the innovations of Armstrong and all those who inspired him? Imagine a contemporary musician saying, “I really haven’t paid attention to any music that was recorded before I started to play.” And yet, not infrequently, collage artists will boast that they have little use for art history (all the breakthroughs of bygone creators who dug the swimming pools in which they now frolic).

It is argued that modern artists were the first to decide that visual art would be about art, rather than subject matter. Nonsense. Art has always been about art, because it always has been structured on prior foundations. The idea that any artist can burst on the scene as an original is absurd. Nobody who comes out of early childhood with any level of awareness has not built an inventory of perceptions — countless images from the culture around them. Each of these individual influences involved creative activity based on another bank of stimuli, and so forth, back to the first proto-human who picked up a piece of charcoal to make interesting marks on a stone (and was probably knocked on the head by another who judged the action as irrelevant to group survival).

Perhaps I have belabored my point. Perhaps it is a point that anyone who reads this would not need emphasized in the first place. Isn’t it obvious to us that no art form is more about all these churning influences from untold visual decision makers — painters, printers, illustrators, photographers, designers — than the medium of collage itself? So, let us all continue to study the collage artworks of the explorers who came before us, to trace the direct lineage of their concepts and techniques, to recognize that valuable inheritance in the work of our peers, as well as in the composition taking shape on the surface before us, and then, fully informed, to push confidently into the second century of collage.
 

Tranquil Ode (to Merz) ~ collage homage by John Andrew Dixon ~ Danville, Kentucky ~ Kentucky Crafted Mixed Media Artist

Tranquil Ode (to Merz)
collage homage by J A Dixon
9.5 x 11.875 inches
 
Purchase this artwork.

Mr. Kraler’s Distress

Monday, April 23rd, 2018

“I don’t think of all the misery, but of the beauty that still remains.”
— Anne Frank
 

It has been a distinct pleasure to perform in the company of some accomplished dramatic artists. I felt like a novice throughout our local production of The Diary of Anne Frank. There were times when the angst of my character, Mr. Kraler, spilled over into my off-stage being. So, naturally, I fell back on my own art and made a collage miniature as a creative catharsis. After a bit of sadness when the Secret Annex set was struck, I found myself eager to spend more time in the studio.
 
Mr. Kraler’s Distress ~ collage miniature by John Andrew Dixon ~ Danville, Kentucky

Mr. Kraler’s Distress
collage miniature by J A Dixon
8.25 x 9.375 inches
collection of the artist

The “Collagesmith” as Artisan

Saturday, March 24th, 2018

“Even in the absence of inspiration and talent, I think that through sheer craft you can actually create extremely good work, all the time, reliably. Great work is something else. I think for great work you also need a lot of luck. You can only aspire to really good work. The great work either happens or it doesn’t.”
— Christoph Niemann
 

Sloppy collage artwork has never held much appeal for me. Individuals might define “sloppy” differently, so I’ll rephrase that. I have always found well-crafted collage artwork to be the most appealing. In practice, I have aspired to the highest level of artisanship to which I am capable. According to my peculiar notions, the very nature of collage as a “mash-up” of visual ingredients suggests that one resist all the inherent temptations to condone careless techniques. To do anything less is a disservice to the medium, and strikes me as being a bit lazy.

I have been at this long enough to contrast current activity with a study of my “early” work. I perceive it now as more crisp and aligned with my long stint as a designer and illustrator. I remain proud of craftsmanship that continues to challenge my present hand skills. Like everyone who sticks around, I have moved relentlessly toward a period of life when manual dexterity and vision are unlikely to improve. At any rate, clean, precise work is more about attitude and personal commitment than it is about facility. Lately, on the other hand, I have sought a more organic, less contrived look — the impression that a piece is naturally the way it should be, rather than appear too obviously composed and belabored. As I work, I try not to permit the goal of a somewhat softer and cohesive whole to suggest a relaxation of craft. In fact, I have gradually introduced steps in the process that demand extra time and attention: sanding the reverse side of ingredients for adhesive-saturated compression and eliminating white edges on printed scrap to enhance a seamless effect. I combine that with ample burnishing and some hair-dryer prep before curing time under weight, followed by multiple light-touch coats of matte sealant. I would rather be thinking about practical methodology or a musical playlist than what is literally evolving on the surface before me, allowing that to be as intuitive as possible.

And perhaps (just maybe), Lady Luck will smile.
 
Cosmic Crucifixion ~ J A Dixon

Cosmic Crucifixion
mixed-media collage by J A Dixon
2006, 16 x 16 inches
available for purchase

Wetland

Monday, January 15th, 2018

“When you take risks you learn that there will be times when you succeed and there will be times when you fail, and both are equally important.”
— Ellen DeGeneres
 

Although it was created in the studio, my new collage landscape titled ‘Wetland’ benefits from a summer of plein-air activity. My “painting with paper” out of doors has opened a rewarding area of investigation for my work as a collage artist. I’m pleased to share this piece with the art-viewing community at my first invitational exhibition of the year, the annual New Year New Art show at our Community Arts Center, just a biscuit toss from my home base in downtown Danville, Kentucky. This event has been a fortifying tradition for regional artists, because we can complete our year of work at a risk-taking level, and still know that the result will get a prominent public display. An artist working outside a metropolitan center could not ask for greater support from a local institution.

Based on an excellent photograph by a longtime pal, this artwork was created as an entry for a contemporary landscape show, but the juror rejected it for unknown reasons. I kept it handy for a pair of upcoming open studio events (my participation in the Central Kentucky ARTTOUR and Gallery Hop Stop). Plenty of praise ensued, but nobody took it home, so I decided to make additional refinements, leading up to the deadline for the January exhibition. A full makeover was unnecessary, as the in-process image above indicates. However, I was not entirely pleased with the vegetation at the waterline, above the dark shadow that spans the composition. In this case, less was not more. Additional ‘foliage’ was needed. I also thought that the lower right corner was too abstract. The desired sense of realism would profit from a more detailed foreground. Late-season ironweed, a favorite of mine, seemed a suitable choice. That led intuitively to a few closing decisions in the sky reflection and distant terrain. stash of premium paper samplesNearly all of the ingredients were infused with wheat paste and press firmly onto the evolving surface with polymer gel. After thorough drying, selected areas were lightly sanded and the total surface evenly daubed with a flat sealant.

It is very satisfying to work with a palette of elegant papers, and I am fortunate to have them. Some of you may remember (especially those with a background connected in some way to the graphic arts) the pre-internet days of a more diversified paper industry. Numerous mills and distributors slugged it out in a highly competitive market. Inkjet printing was still on the horizon and multi-color offset printing was expensive. Printing on colored stock was a cost-effective way to get more color into published material. Paper producers went out of their way to demonstrate creative ways to use colored paper and many of us who specified paper for printing projects were lavished with promotional samples. Decades later, I still have a stash from that era, and I rely on it now for my plein-air miniatures and studio landscapes. A piece such as ‘Wetland’ puts this hoard to good use; it would not look the same with scrapbook or construction paper. The richness of premium papers manufactured for fine printing were accented with fragments of dulled foil, tissue, scraps of found packaging, and fragments of typography. After all, it’s meant to be a collage artwork!

The opening reception for NYNA is this Friday evening, 5 to 8 pm. Perhaps I shall see you there to discuss ‘Wetland’ in person.
 
Wetland ~ collage landscape by John Andrew Dixon, Danville, Kentucky

Wetland
collage landscape by J A Dixon
21.25 x 19.25 inches
on structured panel, framed
currently on consignment

Brendan’s Birthday Comic Strip Artifact

Sunday, April 30th, 2017

 

Brendan’s Birthday Comic Strip Artifact
collage artifact by J A Dixon
12 x 7.375 inches
collection of B C Adkins