The Collage Miniaturist

“Works will be sorted and exchanged as equally as possible according to quality. The intention of all of the Museum’s exchanges is to establish a dialog and exchange of ideas about how to work in the mediums of collage and montage among colleagues. By exchanging actual examples we get to see first hand how each other works. This is intended to lead to higher standards and more inspired and satisfying work.”
— Cecil Touchon
 

Not having participated in an international collage exchange since 2016, I set my sights on the spring installment of a tradition established at the International Museum of Collage, Assemblage and Construction.

The basic reference point for the exchange is the customary 12 donuts plus free sample. “Except, to make it easier, we have changed it to a Baker’s 1/2 Dozen Exchange,” according to Cecil Touchon, the Museum’s director. Six to trade with contributing artists and one to be retained as part of the Museum’s permanent collection for future study and exhibit.

I created a series of eleven miniatures within a common black-background theme and kept three for myself. From the remaining eight, I identified one as a specific donation to IMCAC (featured below), with the understanding that Touchon would select another for retention and supply the others to designated participants. I couldn’t help but insert a visual homage to the typographic artist himself. Now all I have to so is wait patiently before I get back six original artworks by collage contemporaries.

The original notion of a collage museum built by generations of artists themselves (rather than patrons, collectors, or philanthropists) is a powerful idea to me. I can never tip my hat to Cecil often enough. Archiving the large and growing repository is both a labor of love and a significant gesture of commitment to the medium. Working collage artists should be honored to support the cause and make their best effort to be included in the Museum’s flagship collection intended for traveling exhibitions. A good way to do it is to dedicate some creative time to their periodic exchange. And each of us receives valuable artwork in return!
 

The Fog of Glazed Eggwash
collage miniature by J A Dixon
8 x 10 inches
 
part of a series created for the
Baker’s 1/2-Dozen Collage Exchange
— donated to the IMCAC permanent collection

“Once you’re over the hill you begin to pick up speed.”
— Charles Schultz
 

I think back to when John’s Haus of Cards produced 200-to-300 handmade cards a year — for birthdays and celebrations, for sickness and sorrow. Compare that to my current output, and I’m certainly not “picking up speed.” But I have no thoughts of giving it up. It’s still one of my favorite things to do. Check out my full archive of greetings.
 

Sweet Petite
collage greeting card by J A Dixon
series Omega, collection of D L Dixon

Daughter + Mother
collage greeting cards by J A Dixon
series Alpha/Omega hybrid, private collection

Mighty Joan
collage greeting card by J A Dixon
series Alpha, collection of J D A Wood

Sym-patti-co
collage greeting card by J A Dixon
series Omega, collection of P Powell

Bouquet of Hearts
collage greeting card by J A Dixon
series Omega, private collection

A Natalie Day
collage greeting card by J A Dixon
series Alpha/Omega hybrid, collection of N Sluga

Foot’s Choice
collage greeting card by J A Dixon
series Omega, collection of W W Barefoot

For Alyx
collage greeting card by J A Dixon
series Alpha, collection of A Kenner

There is no profit in worry for something beyond one’s control. It is a time to think clearly, to focus on what one can actually affect, to be extremely inquisitive, to be self-sufficient, and to take care for the vulnerable. Here is a collage miniature that I attached to a hand-crafted card for a friend, good patron, and person of faith who is currently at high risk.

In Praise of Prayer
greeting card miniature by J A Dixon
4.8125 x 5 inches
private collection

“I intentionally left body parts out of the composition, because as collage artists we are so prone to use them on a regular basis. This call was to have you step out of your comfort zone and try something different.”
— Aaron Beebe
 

The past century of collage history has been a steady influence on my art practice, but I find additional inspiration from a body of contemporary practitioners. Aaron Beebe is among them. I was fortunate enough to have a piece reproduced as part of his first {th ink} publication. With my heart set on getting into issue #2, I confronted the unique submission guidelines: “Must be an analog collage that contains at least one object, NO faces or body parts, and must have some kind of text within the composition.” As I prepared four separate entries, I found myself in no small part attuned to Beebe’s recognizable approach. Paul Klee said, “We do not analyze works of art because we want to imitate them or because we distrust them.” Emulation for the sake of favor? I would surely hope not. L T Holmes articulated it best during her outstanding Under the Influence series of 2013. Lalo Schifrin, while shaping his individual voice as a musician and composer, absorbed the jazz vocabulary of Dizzy Gillespie (who had been influenced by Roy Eldridge). We can all learn much from our peers. Did you see something created this week that stimulated your desire to evolve as an artist? I did.
 

Four Submissions, 2020
collage miniatures by J A Dixon
6 x 9 inches each
submitted for possible inclusion
as part of {th ink} issue #2

“The huge problem is that social media is designed to mess with our insecurities. When you post something and people like it, and a thousand people do that, it feels really good (and everybody who pretends like they are not enchanted by that is a liar), but you must not confuse that thing with real value and where you are going creatively.”
— Christoph Niemann
 

I continue to have mixed emotions about social networking formats, as do many others who use them daily. We enjoy the advantages and remain dubious about the rest (as if we even know what “the rest” means anymore). The continuous cross pollination and instant feedback across continents is unprecedented in the history of creativity. That must surely be filed under Awesome. On the other hand, the false intimacy and ubiquitous jockeying for the most visible presence on stage can be tedious. The potential for subtle exploitation, calculated abuse, and hidden subversion will be left for others to analyze.

The Instagram-centered Februllage project — coordinated by Scandinavian Collage Museum and The Edinburgh Collage Collective — ran into some parameter problems with the virtual platform last month. “Work-arounds” were devised. Because the unwelcome limitations were probably related to the massive participation, it would be reasonable to characterize the initiative as a huge success. I found it personally worthwhile to flirt with a few of season two’s catalytic “word prompts.” I wasn’t about to let “rabbit” slip by on day 27, so I combined a ruined book cover with ingredients from my bunny stash and added a minor ribbon that my dad claimed over 60 years ago during his reign as a nationally celebrated rabbit breeder. After posting an image on Instagram, I decided to revise the artwork with two additional critters and by restoring the string that I’d previously thought should be removed from the premium. The refined version is featured here.
 

Rabbit Book, 1958
collage miniature by J A Dixon
7.5 x 7.5 inches
available for purchase

“Many artists struggle to make a profit each year, and although it might sound noble to give art away, sometimes it does the community of artists more harm than good. Fund raisers who ask numerous artists for outright donations devalue the worth of the art in that community. … The folks that put on these fundraisers are not malicious people. They just don’t understand how selling donated art at low prices hurts the art community.”
— Lori Woodward
 

Our local Art Center had another successful fundraiser last night, thanks to a massive number of minuscule donations from regional artists. Staff members had to rethink how the event was organized. The turnout was so insane last year that the fire marshal weighed in with concerns.

I contributed four playing card experiments a year ago, but this time around I decided to boost that to five collage miniatures that met the 6×6-inch constraint.

Much has been said and written about the expectation that artists will continuously supply the fruits of their creative labor without compensation in support of nonprofit fundraisers. My basic motto is, “Keep it small, and keep it infrequent.” I’ve gone into more detail about the issue at this blogsite more than once. I have respect for those who decline requests across the board. It’s a decision for each individual. It bugs me when people preach a universal approach. Pro-bono contributions are a time-honored activity in the professional world, but, as with nearly everything, there has to be balance. I recently took part in a fundraiser that split some of the proceeds with participating artists. Nothing wrong with a win-win like that. I hope the practice spreads to more worthy organizations.

It’s not a new idea. Maria Brophy, Lori Woodward, and others had pretty much thought this through ten years ago:

• mariabrophy.com / the problem with donating art and the solution

• fineartviews.com / fundraisers that do it right

Please share your observations with me. I shall always reply!
 

Five Tiny Donations
collage miniatures by J A Dixon
within a 6×6-inch size limit
“Tiny Art” fundraiser to benefit
Art Center of the Bluegrass

Untitled (kiss)
collage exercise by J A Dixon
9.625 x 9.625 inches
 
for Februllage 2020

Flight Plan
collage miniature by J A Dixon
7.125 x 9 inches
available for purchase
 
for Februllage 2020

Materiality
collage miniature by J A Dixon
7.25 x 10 inches
available for purchase
 
for Februllage 2020

Sprightly in the Morning
collage on book cover by J A Dixon
5.25 x 7 inches
available for purchase

Idols
collage exercise by J A Dixon
6.875 x 8 inches
 
for Februllage 2020