Archive for the 'M Tidwell' Category

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

a mini-tutorial for gel transfers

Tuesday, September 27th, 2016

“Self-education is, I firmly believe, the only kind of education there is.”
― Isaac Asimov

A growing number of people will now agree that most emerging social networks are not what they’re cracked up to be. For an artist who spends a lot of time in solitary activities, it can be a beneficial connection to a larger body of peers. I concur with Cal Newport that it can also be a habit-forming distraction that pulls one into a more shallow mode than the deep concentration necessary to produce exceptional creative work. There are times, however, when a Facebook interaction is so good that I have to marvel at the way people can quickly exchange valuable information across continents. Case in point: a recent back-and-forth between Peter Dowker (Lac-Brome, Quebec) and Matthew Rose (Paris, France) about image transfers for collage assembly. When Susanna Lakner (Stuttgart, Germany) and Melinda Tidwell (Santa Fe, New Mexico) jumped in, it developed into one of the best step-by-step descriptions of gel-medium transfer that I have seen. Here is my summary of Dowker’s technique—

“First of all, stay away from the hard stuff, like the toxic chemical cleaner trichlorethylene. Instead, use a gel-medium method to achieve an effective transfer. Apply a healthy coat of liquid acrylic medium to the image side of an ingredient and adhere it face down. GLOSS medium sticks better than matte. Rub with a brayer, or burnish gently with a soup spoon, and let it dry. Using a bit of water, gently rub off the paper backing with your finger or a piece of cloth. Don’t use too much water and slowly move over the surface, removing a bit at a time. Use oil varnish or vegetable oil to bring up the image. A minute amount of paper will always remain behind, giving it a cloudy appearance when dry. The oil varnish or vegetable oil will make that disappear and enhance the transparency. I formerly used matte oil-based varnish, which works okay. The vegetable oil idea comes from Allan Beally. There will be hardly any build up at all — probably less than any of the collaged pieces next to it. When making a transfer onto vintage papers, I find it’s better to seal them first before you begin — 1 or 2 coats of matte gel medium — the water involved to rub off the back of the transfer can destroy the substrate. Keep in mind that different papers react in different ways. Sealing is only necessary if the base is fragile. Be patient after gluing down the transfer. Letting it TOTALLY dry before rubbing off the paper is essential. If you’re not patient and start rubbing too soon, the image can start to break down. Wait a minimum of 2 hours (overnight is best) before removing the paper backing. If I know I’m going to be using a transfer from the outset, I start the piece on heavy card, to keep the substrate from becoming wrinkly in one spot from the water. The method works with original elements or copies. When I do use a laser print, it’s on thin, cheap office paper. Removing the paper backing can take ten minutes or more, because I go slow, not wanting to damage the image — not really that long at all. I’ve had the most luck since I began sealing the receiving surface with matte medium and waiting longer for it to dry. And the oil works wonders!”

My thanks to Mr. Dowker for allowing me to share this description here. Some of us have also used a variation that involves removing the paper backing independently, in a basin of water, before adding it to the collage surface. When doing that, one ends up working with a collage element that is essentially a veneer of acrylic medium, which introduces a size limitation and other aspects of craftsmanship. Peter calls this the “gel-skin method.” Although he has used it many times, a drawback for him is the need to build up 4 to 5 layers of medium — so it’s not too fragile for the rubbing stage — which makes for a thicker transfer. According to Peter, “not very appealing to the fussier ones among us.” The gel-skin method does allow for a right-reading image (if that’s important), otherwise the previous method will result in a flopped image (unless it can be photomechanically or digitally reversed prior to transfer). Each collage artist will refine an individual methodology, and, not surprisingly, new discoveries and “fortunate accidents” occasionally can result. As Peter reminds us, “Don’t be shy!”

Take a few minutes to savor a few of his extraordinary artworks below—
 

CUTTERS
collage with image transfer by P Dowker

ACORN
collage with image transfer by P Dowker

VAAVING
collage with image transfer by P Dowker

TOYS
collage with image transfer by P Dowker

Various and Sundry — Four Years and Counting . . .

Friday, July 29th, 2016

“I write because I don’t know what I think until I read what I say.”
— Flannery O’Connor

It looks as though I’m stepping into my fifth year writing about collage at this blogsite, and I hope that you’ve been with me for part of that enjoyable ride.

When I look back at my wish list for Year Four, I realize, not with any surprise, that my appetite for creating collage artwork has eclipsed a sometimes equally strong desire to delve verbally into the many interesting aspects of the medium. I would like to think that I met a few of the writing goals I set for myself last summer, and, of course, my ambitions to add to that list here in this post will be dutifully curbed. At any rate, I think that the best thing to do is to break this entry into a few parts that cover various and sundry topics on my mind.

The Social Network of Collage Artists
• For at least a couple of years I have wanted to write more about the influence of social media. Nearly every day I see a collage artist defeat the potential of a sharing platform with overexposure. Some may disagree and say, “the more, the merrier.” That is not a point I care to debate, because there may be something else to highlight more important than whether or not the quality-vs-quantity consideration can fall to the wayside — the vital role of networking among artists. I am more convinced than ever that the cross-pollination and mutual support of online networks has been of significant benefit to those of us working in the medium. Crystal Neubauer has one of the more interesting blogsites by a collage artist. She touched on the topic of creative communities so well that I direct you to her short essay at ClothPaperScissors.com. Another collage artist I admire who has recently made an impression as a strong blogger is Melinda Tidwell. I like her process-oriented posts. Although more of a mixed-media artist rather than a conventional collage practitioner, the versatile Kathleen O‘Brien maintains a steady flow of what I consider “must-read” entries at her studio blogsite. Create your own list of frequent art-blog destinations and branch out to new sharing platforms (I just learned about some new artist blogs from Caterina Giglio and opened a new account at Instagram.). As the entire evolving array of networking sites weeds out the fads, imitators and clunky interfaces (finding it difficult to tolerate LinkedIn as a user), you will settle into a community of online cohorts who reinforce your daily challenges as a creative person. When you come to know that someone else is on “the same wavelength,” reach out and make contact as an authentic being behind the profile. There are rewards to be discovered!

Cheap Collage Tricks
• Collage artist Allan Bealy seems to be everywhere, but, trust me, he is no gadfly. He recently raised a topic that struck a nerve with many. There are a lot of cheap tricks appearing in the medium, and most of them are harmless, if unimaginative, but the temptation to exploit visual ingredients readily available in our culture to “objectify women” is perhaps the most repugnant. Those of us who believe we are above that sort of thing need to think more deeply about how and why we use nudes in a collage. This suggests another potential self-assignment for my coming year — a “DON’T DO THIS” post illustrating the most prevalent cheap tricks in collage. (Not that there’s anything wrong with replacing a man’s head with a vulture to carry the banner of Dada during the art movement’s centennial year.) To be honest, I have nothing against a cliche, if it “works.” Isn’t that the reason something becomes a cliche in the first place? I say go for the cheap trick if you can score in the highest percentile (anyone who thinks that’s an easy thing to is wrong). I hope to post a follow-up look at the endurance of the surreal face in collage, so stay tuned. But let’s get back to Allan’s remonstrance. The woman as sex object can be traced back to long before the rise of Madison Avenue and Larry Flynt. Don’t bite the lure, folks. Everything one needs to dabble in this unworthy stunt abounds. Nevertheless, I long have been fascinated with the exemplars of erotic minimalism and their work in contemporary collage — those who transcend the cheap tricks to achieve a fine-art impression. Add another one to my wish list for Year Five of The Collage Miniaturist.

Priorities Get the Last Word
• My wife, Dana, and I managed to get two tickets to The Seer (a new documentary portrait of Kentuckian Wendell Berry, re-titled “Look & See” for Sundance Institute) before the Lexington screening sold out last night. It is a significant film that will become more widely available into next year, and it has my highest recommendation. Does it have anything to do with collage? Nothing at all, except for everything under the sun. If you haven’t discovered the poet, novelist, essayist, and farmer-philosopher, I have accomplished one meaningful thing with this site by inviting your interest. It was fitting that I got out of the studio and spent time at our farm. It was very hot work up on the shed roof, but pleasant to be away from all the noise (traffic, sirens, and incessant political jousting). Connecting with our rural place offered an opportunity, as it always does, to put priorities back into alignment. There is a place in the documentary when Laura Dunn (the filmmaker in voice-over) explains to Berry her motivation and how she looks “to places where there is still a remnant of togetherness, or unity, or community, of connection to the land, and I study those, because I don’t come from a place — I come from divorce …”
      “We all come from divorce!” her subject interrupts. “This is an age of divorce. Things that belong together have been taken apart. And you can’t put it all back together again. What you can do, is the only thing that you can do. You take two things that ought to be together and you put them together. Two things! Not all things.” It is his metaphor for the creative life, and a tremendously healing admonition to those of us with a tendency to become overwhelmed by the enormity of the world’s chaotic disintegration. Collage artists put things together to make something new, and often we are the ones who have taken apart discarded things to do it, but there is always a much larger phenomenon at work — one of discord vs harmony, wastefulness vs thrift, cynicism vs affection. When I return to the studio from a natural place that has responded to my care, I am in a better condition to ask myself, “To which side of the big equation are you making your contribution as an artist?”
 

Crystal Neubauer
Her blogging often touches on the complexity of a creative life.

Melinda Tidwell
Perhaps you will admire her solid abstractions as much as I do.

Kathleen O’Brien
Her art always nudges one toward a deeper sense of balance and wholeness.

Robert Hugh Hunt
Stay tuned for a continuation of my review of “the surreal face.”

Bene Rohlmann
Look ahead to my first discussion of erotic minimalism in collage.