Archive for the 'C Touchon' Category

The only thing an artist gets to keep . . .

Saturday, April 25th, 2020

“These days it is so easy to document your artistic trail. It is just a matter of organizing oneself to do it step by step, so it doesn’t get out of hand.”
— Cecil Touchon
 

Nobody needs me to point out that there are a lot of fellow artists exploiting cyberspace to cry, “Pay attention to me! Pay attention to me!” Contrast this with those who are truly making a mark on the history of contemporary collage. Among them are the “thought leaders” in our medium. In my opinion, Cecil Touchon is one of those individuals. (And his highly imitated artwork is extraordinary, too.)

Follow this link to read Cecil’s important recommendations about keeping a chronologic creative trail.
 

Fusion Series #3351
collage on paper by C Touchon
ceciltouchon.com

The Baker’s 1/2-Dozen Collage Exchange

Sunday, March 29th, 2020

“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 do is wait patiently before I get back six original artworks by collage contemporaries.

The original notion of a collage museum compiled 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

Various and Sundry Scraps ~ No.2

Saturday, October 6th, 2018

Collage is painting, so Cinta can inform and inspire collage.
Many of us wanted to stow ourselves in Teri’s art-supply case.
I’ve lost count of all the things I admire about Sheldon’s artistry.
Cecil: The “spectacularness” of the harmony of all things.
The opposite of collage — two solid hours of Wesley at work.

My thanks to everyone who created these featured videos.

Worthy of note . . .

Tuesday, September 18th, 2018

Sharing a major announcement in the world of collage and assemblage: The Ontological Museum has undertaken an entire makeover of its online archives. Let all doff their hats to Cecil Touchon!

Beware — connoisseurs of the collage medium can be swept into this magnificent black hole of imagery. Just a few outstanding examples are featured below.

Fellow collage artists, it is up to us to grow and preserve this extraordinary collection. Become a subscribing member!
 

The Sun Always Shines on TV
collage artwork by Cory Peeke, 2010

7 am
collage artwork by Joan Schulze, 2010

Ritual 2
mixed-media collage by Svetlana Pesetskaya, 2011

Case #10
small things by Hope Kroll for Fluxcase Micro Museum, 2011

(title unknown)
mixed-media collage on paper by Denise Pitchon, 2012

Queen Rose Score
collage on paper by Matthew Rose, 2012

(title unknown)
collage for Dada Centennial by Bob Rizzo, 2016

Homage to Merzbau
collage artwork by Sabine Remy, 2016

(title unknown)
asemic collage on paper by Jim White, 2018 
 
 
 
(images courtesy of The Ontological Museum)

Various and Sundry Scraps ~ No.1

Thursday, April 26th, 2018

Don’t we all want to be Cecil when we grow up?
There was a time when Merz was deemed degenerate.
Destruction of the Merzbau and the human toll in Hannover.
Kurt Schwitters and his fellow artists in captivity.
How synthetic cubism led to collage as a modern art.

Thanks to The Kurt Schwitters Society for sharing several of these links.

Three more book covers . . .

Tuesday, November 28th, 2017

“The cure for boredom is curiosity. There is no cure for curiosity.”
— Ellen Parr

“What do I make next?”
— Paula Scher
 

Curiosity is perhaps a common characteristic of all visual artists, but certainly it is a driving feature of what motivates the collage practitioner — curiosity about acquiring and editing discovered remnants, curiosity about choosing a substrate or background context, and curiosity about composing selected ingredients for creative juxtaposition. We are all, in essence, “curators” of what others have cast aside.

Cecil Touchon has written, “The hunt for found materials is crucial to the process of many collage artists, causing them to be consummate collectors of things. Their collecting of material artifacts for their artistic appeal and possibilities rather than for rarity or value often makes them keenly aware of popular culture — present and past — with the subtle eye of an anthropological curator. Collage artists explore the artifacts that have poured out of the cornucopia of modern society, using them as grist for the creative mill, generating new works of art with materials that have already had their useful life and have been retired from their intended purpose. In the hands of collage artists, these materials often achieve poetic stature when their inherent visual qualities are brought to the fore and their former usefulness disregarded.”

Every creative person is interested in what comes next. Those of us who focus our curiosity on the discarded are also interested in what we shall rescue and transform in order to create it.
 

Touché ~ J A Dixon

Touché
collage miniature on book cover by J A Dixon
7 x 10 inches
 
Purchase this artwork!

Mussel Power ~ J A Dixon

Mussel Power
collage miniature on book cover by J A Dixon
7 x 10 inches
 
Purchase this artwork!

Evolucent ~ J A Dixon

Evolucent
collage miniature on book cover by J A Dixon
7 x 10 inches
 
Purchase this artwork!

DADA CENTENNIAL Day of the Dead

Sunday, May 7th, 2017

It is with high anticipation that I await my first look at the new publication which documents the Dada Centennial exhibition organized by the Ontological Museum. My sincere thanks to Cecil Touchon for including the essay that I wrote last yearOn Kurt Schwitters and a Century of Dada — but, most of all, for volunteering so much of his time to this historic observation and to the ongoing administration of the institution he founded, now located in Santa Fe, New Mexico.

The exhibition at the archives of the International Museum of Collage, Assemblage and Construction opened on November 4, 2016 and lasted through January 31, 2017. A worldwide array of Dada-inspired artists sent artworks for the show that will be added to the permanent collection. They are all displayed in the full-color, 275-page catalog that is available for purchase. A “Merz Painting” by Peter Dowker is featured on the cover. In addition to my essay, the publication has an introduction by Touchon, another essay by Drager Meurtant, Birth of Merz by Schwitters, original verse by Dada artists, writings by Hugo Ball, three of my experimental miniatures, and collage art by some whose work I have spotlighted here at TCM, including Dowker, Hope Kroll, Zach Collins, Nikki Soppelsa, Erin Case, Joel Lambeth, Melinda Tidwell, Evan Clayton Horback, and Katrien De Blauwer.

When I experienced the milestone Schwitters exhibition at the Berkeley Museum of Art in 2011, I failed to bring home the forty-dollar catalog. When I got back to Kentucky, I discovered that the compendium was already worth $200. I do not know what long-term plan the Ontological Museum has for this publication, but it may not always be available. Go online, take advantage of the current discount, and buy it now.
Grateful Ode to Merz ~ John Andrew Dixon

Grateful Ode to Merz
collage miniature on Bristol by J A Dixon
homage to Kurt Schwitters
collection of The Ontological Museum

Dada Centennial Exhibition to open in Santa Fe

Friday, October 21st, 2016

As part of the celebratory observation of the Dada Centennial organized by Cecil Touchon, I picked three of my experiments from earlier in the year (March 6thMarch 7thMarch 21st) to refine and submit to the Int’l Museum of Collage, Assemblage & Construction. Sure wish I was a bit closer to New Mexico.
 

Dada 100 (SCORE 20) ~ J A Dixon

Dada 100 (SCORE 20)
collage miniature by J A Dixon
4 x 5 inches
permanent collection of the Ontological Museum

Dada 100 (URGER HEESE BURG) ~ J A Dixon

Dada 100 (URGER HEESE BURG)
collage miniature by J A Dixon
4 x 5 inches
permanent collection of the Ontological Museum

dixon_dadajuliejudy

Dada 100 (Julie and Judy)
collage miniature by J A Dixon
4 x 5 inches
permanent collection of the Ontological Museum

a final glance back at JUXTAPOSE . . .

Tuesday, May 3rd, 2016

“Collage artists form a unique and interesting community. The hunt for found materials is crucial to the process of many collage artists, causing them to be consummate collectors of things. Their collecting of material artifacts for their artistic appeal and possibilities, rather than for rarity or value, often makes them keenly aware of popular culture — present and past — with the subtle eye of an anthropological curator.”
— Cecil Touchon

During a gallery talk in early March for JUXTAPOSE, I floated this question to my audience: “What makes collage and assemblage rewarding for those of us who can draw?” The answer for me is that we see in the found material of our physical surroundings the ingredients for a different kind of creative spontaneity. As in most improvisational activity, there is a splendid opportunity for mystery, surprise, discovery, and joy. But there is more to it than that. I am convinced that what distinguishes artists who do contemporary collage and assemblage is their acute connection to the mundane “stuff” of culture and the inner need to bring a measure of order and harmony from the sheer volume of material produced by our throw-away society — with its chaotic, numbing effect on our sensibilities — to infuse a new energy into that which would otherwise be discarded. It is a burning desire to create value when none exists and to find wonder, meaning, significance, and (yes) beauty, where none could have been expected.

It was a distinct privilege to exhibit with some of the finest collage and assemblage artists in Kentucky, and if nothing else happens on the art front for the balance of 2016, JUXTAPOSE will have made my year.
 

Pretty Please Peony ~ Meg Higgins, Louisville, Kentucky

Pretty Please Peony
Meg Higgins
collage on wood panel

collaborative collage on oversized playing cards ~ Terry Ray Flowers and Robert Hugh Hunt

collaborative collage on oversized playing cards
Robert H Hunt and Terry R Flowers

No Stopping ~ Brad Devlin, Louisville, Kentucky

No Stopping
Brad Devlin
assemblage, found objects

Intergalactic Passion ~ Brandon Long, Danville, Kentucky

Intergalactic Passion
Brandon Long
recycled promotional banners

six collage/assemblage artworks by Lisa Austin, Louisville, Kentucky

six collage/assemblage artworks
Lisa Austin

Pollinators 1 ~ Kathleen O’Brien, Harrodsburg, Kentucky

Pollinators 1
Kathleen O’Brien
mixed-media collage

Crossroads ~ Teri Dryden, Louisville, Kentucky

Crossroads
Teri Dryden
collage from discarded books on panel

Einstein ~ Robert Hugh Hunt, Richmond, Kentucky

Einstein
Robert Hugh Hunt
collage with watercolor on canvas board

JuxtaposeGrouping

This image represents to me the strong diversity of the JUXTAPOSE exhibition and reminds me of the exceptional “company” my art shared earlier this year — a pair of shadow boxes by yours truly in proximity to pieces by Robert Hugh Hunt, Cynthia Carr, Teri Dryden, and Lisa Austin.

It won’t surprise you to learn that I am looking for a good excuse to publish a compilation of JUXTAPOSE images with artist comments. Please let me know if that interests you!

A universal antidote . . .

Saturday, January 17th, 2015

“Self-consciousness is the enemy of all art, be it
acting, writing, painting, or living itself, which is
the greatest art of all.”
— Ray Bradbury

I was honored, but also thrilled, to accept my third invitation for the “New Year New Art” exhibition at our local Community Arts Center, one of the outstanding cultural institutions in Central Kentucky. The extraordinary thing about this annual show is a freedom to display, The Barretts ~ a portrait by John Andrew Dixonwithout juried appraisal, one or two pieces for which one has passion. The only restriction is that the work not be over four months old. I decided to create something around the holidays specifically for the opportunity, and, because I had just completed a difficult portrait commission in watercolor and pencil, a more personal form of expression was a welcome idea. I had used an illustrative, “news-magazine-cover” style that always has had great appeal to me, but that over the years has challenged my self confidence and repeatedly has put my perfectionist tendencies to a stress test. Fortunately, I have discovered a universal antidote for all that — collage.

For the January exhibition I wanted to do something fresh, to surprise myself, but also, as most artists prefer, to create something that would please others, that would excite an individual’s subjective response. Mixed-media collage is a medium that people find both provocative and delightful, and to which I am strongly committed, but that should be no surprise to anyone who follows this site. As a working designer and graphic artist, I return to collage on a nearly daily basis as fuel for my creative life and a potent solvent for that side of myself which continually flirts with self doubt if something might not turn out exactly as I imagine it should. All that nonsense fades away when I incite the spontaneity of this magnificent medium.

Of course, I remain captivated by the ability to make something of value from material that otherwise would be thrown away or recycled. I enjoy creating artwork that has bold visual appeal from across a room, but that also provides a depth of interest at close observation, with many stimulating details within an intimate viewing distance. “Matthew’s Touchonic Lodge” is primarily an abstract composition, and I salute two collage artists whose work I admire with my title and embedded allusions. “Apparition Rising” uses ingredients that are more whimsical, but perhaps slightly “spooky” at the same time. A phrase from a song that I like sparked the genesis of its assembly. Both are significantly larger than my typical miniature, more dimensional than a standard flat surface, and, as with all my designs, I worked intuitively with color, contrast, and the activation of space. In addition, I continue to push the effect of collage as a stand-alone treatment that does not demand the protective glass barrier. Please let me know what you think of these new works.
 

Dixon_TouchonicLodge

Matthew’s Touchonic Lodge
mixed-media collage by J A Dixon
22.5 x 20 inches, December 2014
title source: homage to artists M Rose and C Touchon
Purchase this artwork!

Dixon_ApparitionRising

Apparition Rising
mixed-media collage by J A Dixon
19.5 x 27.5 inches, December 2014
title source: from the song “Ghost Town” by J Brasfield
available for purchase

A Lively Coexistence

Saturday, February 8th, 2014

“Inspiration does exist, but it must find you working.”
— Pablo Picasso

My passion seems to be split between collage as artifact (the artistic specimen) and collage as painting (the artistic surface). I revere the pioneering giants whose work must be carefully conserved, but also continue to be impressed and inspired by Cecil Touchon, Jon Measures, Robert Mars, Teri Dryden, Zach Collins, and other contemporary artists who successfully bring a painterly approach to our medium. In order to release a mixed-media collage from beneath the traditional glass barrier, it is necessary to find a proper protective coating to balance visual appeal and durability. Because I work with found material, I have had to learn what kinds of ingredients can handle direct exposure (for an effect similar to the painted surface). Some are too vulnerable and require framing behind glass. Both types of artwork are represented in my new solo exhibition, Ingredients Reclaimed. The example shown here, layered above the conventional canvas and stretcher, relies on wet-to-wet contact of adhesive and gesso to firmly seat the “scrap.” Using a series of light-touch applications, a coating of matte acrylic sealant tops off the piece.
 

A Lively Coexistence
collage on canvas by J A Dixon
11 x 14 inches
available for purchase
 
Purchase this artwork!