Archive for the 'N Soppelsa' Category

Year Five: a new “Janus Project” in the works?

Tuesday, December 26th, 2017

“There are, it seems, two muses: the Muse of Inspiration, who gives us inarticulate visions and desires, and the Muse of Realization, who returns again and again to say ‘It is yet more difficult than you thought.’ This is the muse of form. It may be then that form serves us best when it works as an obstruction, to baffle us and deflect our intended course. It may be that when we no longer know what to do, we have come to our real work and when we no longer know which way to go, we have begun our real journey. The mind that is not baffled is not employed. The impeded stream is the one that sings.”
― Wendell Berry
 

Someone once opined that “since most people feel that the world gets worse, not better, the only basis of genuinely popular art is nostalgia.” There may be some truth in that. However, one could recall examples of entirely new things gaining wide popularity, too, especially in music. The visual artist must accept that most people will never grant them the position that they ascribe to musical and culinary artists, because nothing in life will supplant music and food in their daily routine of emotional attachments (although, with the current explosion of binge-on-demand streaming entertainment, other creatives may be poised to achieve a similar status).

When I reflect on my fifth year of musing about collage at this blogsite and look ahead to the next, I realize just how much work there is in front of me to puzzle through some of these ideas. Like many artists, I hope to juggle goals that may at first seem in contradiction: to attract patrons, to inspire colleagues, and to please myself. I don’t see any way to approach it other than to balance elements of our past (the appeal of the nostalgic), our present (the lure of the trend), and our future (the surprise of the new). How convenient that balancing elements in Janus-like fashion just happens to be my craft!

In all seriousness, collage (and the related montage-inherent media) are almost uniquely suited to the challenge at hand, and perhaps that is why post-centennial collage is becoming a worldwide phenomenon in the 21st. Diving more deeply into this quandary will provide ample food for thought in the coming year. Meanwhile, I shall make more!
 

an untitled ‘ultra miniature’ by the prolific N Soppelsa

Nikki Soppelsa
Look ahead to a discussion of “ultra miniaturism” in collage.

The Skin Trade ~ R H Hunt

Robert Hugh Hunt
Stay tuned for a review of contemporary collage abstraction.

another example of humor in collage by T R Flowers

Terry R Flowers
Is it time to peruse the long history of humor in collage?

Construction of Space ~ K Schwitters, 1921

Kurt Schwitters
And I shall never tire of studying and sharing the work of KS.

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

Ninety Naughty Gnats

Wednesday, October 21st, 2015

“A special thank you to Helen Reiss, who brought me this crazy manuscript and thought I might like to illustrate it. I had a better idea!”
– Allan Bealy
 

I am pleased to share an announcement from Allan Bealy that his newest publication is available— ABCurdities: A Collage Alphabet, and it is an honor to be part of an outstanding group that includes Allan, Matthew Rose, Ted Tollefson, Nikki Soppelsa, Zach Collins, Marc Deb, Fred Voigt, Musta Fior, Michael Tunk, and many other fine collage practitioners. Allan assigned 26 collage artists from around the world a letter of the alphabet and asked each of us to interpret a corresponding absurdist poem by Helen Reiss. The delightful result is now available for online purchase!

Helen’s wild verse for “N” offered a wealth of associations and challenged me to illustrate the perfect level of “visual naughtiness.” I also wanted to embed the letterform, but not in a way that would be too obvious. Do you see it? Some may not. I find it fascinating to observe how each of us used her poems as a catalyst for creativity, while investigating an individual approach to the medium — one more example of how collaboration can enhance the artistic process. A tip o’ the cap to the designer/compiler!
 

N ~ John Andrew Dixon ~ a collage contribution to ABCurdities: ~ compiled by Allan Bealy

N
collage miniature by J A Dixon
a contribution to ABCurdities: A Collage Alphabet
8 x 8 inches

On Nostalgia in Collage

Thursday, December 11th, 2014

“ . . . what I am hoping to do is discover if it is possible to separate nostalgia and collage art, or determine whether the two are inextricably entwined.”
— Joel Lambeth

In a blog entry last month, collage artist Joel Lambeth asked the challenging question, “Is collage inherently nostalgic?” It is one of the more provocative pieces about our medium that I have read this year, although a bit wordy in places. Admittedly, most working collage artists like us who maintain blogs that purport to be more than an online portfolio are not the finest writers alive, and I salute him for not choosing to approach the topic in a superficial way. Nevertheless, it is always risky to generalize about anything, but Lambeth cuts deeply into the subject to probe the history and heart of collage as an art form, and he manages to avoid a semantic discourse on the definition of the word “nostalgia.” His thoughtful viewpoints have sparked a desire on my part to weigh in (with what also may prove to be an entry more verbose than usual).

The groundbreaker Max Ernst worked with vintage engravings, perhaps to emphasize his anti-traditionalist intentions.a Joseph Cornell aviary assemblage He influenced Joseph Cornell, who captured feelings of personal nostalgia with innovative effects that were as cutting-edge as they were fixated on musings about the past. When analyzing collage artwork with respect to the idea of nostalgia, we must take into consideration the artist’s motivation in addition to the overall character of the medium. When I look at current examples from the daily waves of creative output, it is clear that nostalgia in collage plays out along a spectrum or continuum like nearly every other feature of the process, whether it be minimalism/maximalism, realism/surrealism, or representation/abstraction.

It is surprising to me how many contemporary collage artists work exclusively with old ingredients, but that does not mean necessarily that their agenda is merely to traffic in sentimentality. Sara Caswell-Pearce and Nancy Gene Armstrong are among those who appear to harness nostalgia as a conscious objective in their work while achieving a broad balance of artistic creativity. Many collage artists, such as Carolina Chocron, Nikki Soppelsa, Ross Carron, Fred Litch, Laura Collins, and Frank Voigt are more apt to generate nostalgic tones as a byproduct of incorporating vintage ingredients into strong compositions. Only these individuals could clarify to what degree they actively try to convey impressions of an era gone by. The versatile Zach Collins and Randel Plowman, although they frequently work with obviously old paper, both seem to be engaged in ongoing visual investigations more primary than any sense of nostalgia embedded in their finished works.

Lambeth compares the nostalgic impulse to the process of collage itself and concludes by suggesting “that at a very base level collage and nostalgia have more in common than they do separating them.” He acknowledges the contemporary effort to transcend the inherent bias that the medium may have toward nostalgia. Perhaps he, Marc Deb, Launa Romoff, Andrew Lundwall, Teri Dryden, and numerous other artists are making the push beyond any fundamental nostalgic essence. If so, collage, after more than a hundred years, is cycling back to its roots, when Kurt Schwitters, who always considered himself a painter, became convinced that the pasted detritus of his environment was equally as legitimate as a brushstroke of oily pigment.
 

Midnight Gambol: Or Why The Bees Slept In Every Morning
mixed-media collage by Sara Caswell-Pearce

A Boy and a Swan
collage by Nancy Gene Armstrong

descosiendo el cuadrilátero
collage by Carolina Chocron

Napoleon shows his hand
collage by Nikki Soppelsa

untitled
collage by Fred Litch

Nubecula Cum Ovi
collage by Ross Carron

Jump
collage by Laura Collins

untitled
collage by Fred Voigt

141zc14
collage on wood panel by Zach Collins

August Night
collage by Randel Plowman

Ripping It Up
collage by Joel Lambeth

Imperfect Parallels
collage by Marc Deb

the parrot (detail)
mixed-media collage by Launa D Romoff

Substance
mixed-media collage by Andrew Lundwall

9 Lives
mixed-media collage by Teri Dryden