Archive for the ‘Collaboration’ Category

As Seen On TV

Saturday, April 18th, 2015

“This was among some of the collaborations I received while I was going through chemo. I recently found some of the ones I had set aside when really sick and completely forgot about.”
– Ted Tollefson

While we’re on the subject of collage on coasters, a pleasant surprise explodes on the scene from an exemplar of the genre, Ted Tollefson. A prolific collaborator, Ted has impressed many of us working in the medium with his diversity of approach and an indefatigable spirit. Keep your eye on this guy!
 

As Seen On TV ~ a collage on beer coaster collaboration ~ start by John Andrew Dixon, finish by Ted Tollefson

As Seen On TV
collage on Budweiser coaster, 4 x 4 inches
(start by J A Dixon, finish by T Tollefson)
collection of T Tollefson

Two Bealy starters standing by . . .

Wednesday, April 8th, 2015

 
two collage starters from Allan Bealy

two collage starters from A Bealy
collage on paper by A Bealy
prepared for 5 x 7-inch crops

Collage Miniature Collaboration Number One

Saturday, April 4th, 2015

“I am most interested in discovering new ways to tell an old story, with humor, irony, and a dash of anarchy!”
— Allan Bealy

It was a pleasure to take a step deeper into the collaboration zone with Brooklyn-based artist and art director Allan Bealy. Take a look at my March 1st entry to see the starters that I sent Allan. His finished artworks are delightfully effective. The rugged, floating pear is a fine touch, and decisively positioned, too. His rhythmic figures are splendid in the second collage, and the “circle v” anchors the whole composition. Thank you, Allan. Now it’s time for me to tackle the items you sent for me to complete!
 

A collage miniature collaboration by John Andrew Dixon and Allan Bealy

Untitled (rugged pear)
a collage miniature collaboration by J A Dixon and A Bealy
(start by Dixon, finish by Bealy)
5 x 7 inches, collection of J A Dixon

A collage miniature collaboration by John Andrew Dixon and Allan Bealy

Untitled (rhythmic figures)
a collage miniature collaboration by J A Dixon and A Bealy
(start by Dixon, finish by Bealy)
5 x 7 inches, collection of A Bealy

Until April . . .

Sunday, March 1st, 2015

“. . . just set one day’s work in front of the last day’s work. That’s the way it comes out. And that’s the only way it does.”
– John Steinbeck

If I am to be honest with myself, there must be the recognition that this is a blogsite not unlike many others: a personal tool for somewhat murky purposes (and a service to others less so, as much as I would desire that aspect to predominate). At any rate, I deeply appreciate that it is followed, and I shall continue my effort to make it worth the time you take to pay a visit.

I have written before about the March Exercise, my annual focus on building another layer of creative habit that can be internalized as part of a new cycle. It began as an experiment in time management nine years ago. Here at The Collage Miniaturist, I have showcased a month-long collage-a-day ritual for the past two. My tenth March Exercise will be a departure. Blog entries and updates to social networks will be temporarily suspended, as I concentrate all of my time on a few major studio objectives. I am required to stack one block of work on top of another in a way that does not allow for attention to routine public disclosures.

Before I step away for the month, here are two collage starters on their way to Allan Bealy for completion. Compared to prolific collaborators like Allan, I could be considered a rookie. Stay tuned for his response. See you in April.
 

Two Collage Starters For Allan Bealy ~ John Andrew Dixon

two collage starters for A Bealy
by J A Dixon on KYDEX® synthetic sheet
each: 5 x 7 inches

Collaboration in Collage, part 3

Tuesday, February 24th, 2015

“We suspect that individual practices function more similarly to collective practice than most people imagine. Whether explicitly acknowledged or not, all forms of production are fundamentally based on collaboration in the sense that the artist inevitably draws on the influences and innovations of existing culture. In this sense, we feel that autonomous authorship only exists as cultural mythology.”
Soda Jerk (Berlin-based Australian duo)

 

Collaboration is expanding within the medium and taking many forms. Collage artists are teaming their talents to produce publications, for example. FABA Collage Mag (For And About Artists) is preparing to release its second issue.FABA, issue 2 Allan Bealy recently brought together the work of more than two dozen active creators to “Explode the Alphabet” with his Z2A. Each spread features an original solo collage based on the designated letter. Zach Collins takes the idea of synergy another step with a major exposition of how dynamic international collage collaboration has become. Anyone who has tracked the prolific artist could see this coming. We Said Hello and Shook Hands documents the results of his relentless series of virtual “jam sessions” from the past few years. Both publications benefit from the able editing of fellow collage artist Laura Tringali Holmes.

It remains to be seen whether or not we can expect a tide of post-centennial self-publishing, now that evolving technology has opened up new opportunities for collage artists outside the conventional art-book world. In any case, these examples are worthy of attention, as we build our collector libraries during this exhilarating period for collage.
 

H is for Homecoming ~ L T Holmes

H is for Homecoming
collage with mixed media by L T Holmes
8 x 8 inches, beeswax finish
part of Z2A by A Bealy

We Said Hello and Shook Hands by Zach Collins (Author, Designer) and Laura Tringali Holmes (Editor)

We Said Hello and Shook Hands
collage collaboration by Z Collins and F Free
back cover of We Said Hello and Shook Hands by Z Collins

Bull’s-eye Nosegay

Wednesday, February 11th, 2015

“To get to be somebody who gets to love what they do for a living, that’s so rare, and so there must be some kind of price you have to pay.”
— Ethan Hawke

The Target Practice Project shows no signs of winding down. Two of the vintage targets from L T Holmes were still in my possession, so I started another piece last summer. It had a stubborn inertia of its own that repeatedly would cause me to set it aside until the next phase came into focus. It’s funny how a certain artistic progression can have “a mind of its own,” so to speak, and others can fall into place like clockwork. One of the things I appreciate most about collage is getting into an effortless “flow,” but there is something to be said about having to dig deeper to pull the solution from a more difficult effort. In those situations, a different kind of fulfillment is the reward — the sense that I have pushed by craft to a new level. It may not seem as joyful, but I feel just as fortunate to be involved in something I love to do. And it makes me stop and think that perhaps, when that easier process is flowing, it could be the exact moment to mix it up, take a risk, lose my footing, defy the comfort, and pay the price.

Bull’s-eye Nosegay ~ J A Dixon

Bull’s-eye Nosegay
mixed-media collage on framed panel
vintage target from L T Holmes
17 x 17 inches, currently not for sale
featured at The Target Practice Project

Pearental Discretion

Wednesday, February 4th, 2015

“When people think about creativity, they think about artistic work — unbridled, unguided effort that leads to beautiful effect. But if you look deeper, you’ll find that some of the most inspiring art forms, such as haikus, sonatas, and religious paintings, are fraught with constraints. They are beautiful because creativity triumphed over the ‘rules.’ Constraints shape and focus problems and provide clear challenges to overcome. Creativity thrives best when constrained.”
— Marissa Ann Mayer

I have been intrigued by the recent work of participants in the Matchbook Collage Collaboration Project. Collage artists, whether working alone or in collaboration, are increasingly known for imposed restrictions — time, scale, format, or ingredients. Early on I gained a healthy respect for the power of parameters, most likely because I was educated as a designer and trained as an applied artist. Years later, this respect was amplified significantly when I witnessed my nephew create thousands of 101-word stories as an exercise in creative writing.

A big part of managing open-ended potential when initiating new work is to dig for an “inner assignment” that limits the options and sparks a creative impulse. Another good catalyst is to look around for an external constraint. I enjoy reacting to calls-to-artists that focus on an organizing concept. Even if I don’t actually apply, the triggered intuitive process can be informative. Here is a piece that I just finished in response to the exhibition theme of “Home.” In addition to framing the possibilities, it provided an opportunity for me to work more three-dimensionally, explore color scheme limitations, and further investigate the combining of found materials.
 

Pearental Discretion ~ John Andrew Dixon

Pearental Discretion
mixed-media artifact by J A Dixon
11.25 x 9.25 inches
available for purchase

Thursday, November 27th, 2014

 

collaborative collage by Michael Tunk and John Andrew Dixon

Happy Thanksgiving
collage collaboration, 4 x 6 inches
start by M Tunk, finish by J A Dixon
from FABA Collage Mag, Issue 1

All Things Collage: Year Two

Thursday, July 31st, 2014

“When we remember we are all mad, the mysteries disappear and life stands explained.”
— Mark Twain

“Take what you can,
All you can carry.
Take what you can,
And leave your thoughts behind.”
— Tom Petty

“If everything you do must be measured against the good opinion of everyone else, what happens to your good opinion of yourself?”
— Wayne W Dyer

Hmmm . . . just realized that my line-up of quotations above might seem odd to some of you. At any rate, they capture a bit of what is on my mind, as I begin to reflect on a couple years of remarks about collage at this blogsite.

Mombo_MotherOfTheArtistLike many others, I spend prayerful time caring for a parent with progressive dementia. The other day I was trying to explain to my mother, in terms she could appreciate, my burning desire to make collage artwork, and, touching on her prevailing sense of confusion, talked about my creative activity as a way to bring some kind of harmony out of the chaotic stream of disorder that dominates so much of current stimuli in our daily lives. It brought to my awareness the motivation at the center of what I love to do, but also fell short of the clarity for which I was reaching. Over the next year, I hope to find better words which get to the heart of that idea — how I take what I can carry into a process that leaves thinking behind, a kind of sweet madness that offers explanations difficult for me to achieve any other way. Of course, this is not the only approach to the medium. I hope to profile more collage artists who use a different methodology than my own — the extraordinary minimalists, the dedicated aestheticians, and those who continue to harness a kind of thoughtful irrationality that keeps me in awe.

I just looked over my previous comments after a full year of blogging, and, as a result, I feel the need to temper my ambitions going into year three, but that is not my nature. There are too many interesting things to explore in the dynamic world of contemporary collage. One of them is the continued explosion of collaboration. Another is the influence of social networks. Nearly every day I see an artist defeat the purpose of the platform with overexposure, failing to keep the age-old quality-vs-quantity issue in balance. One of my goals for the coming year is to take a closer look at how the ease of internet sharing affects the challenge of striking an equilibrium between the imperative to follow one’s passion without regard for opinion and the practical aspects of seeking recognition and approval from others. As most of you already know, it is not an easy task to walk that tightrope.

And one more thing, dear visitor. Please let me know what I can do to make this site more interactive as a unique forum for discussion. Meanwhile, you can count on me to observe, write, and make more art. Stop back again!
 

Untitled (flutter)
collage experiment by J A Dixon
9 x 11 inches
not for sale

Collaboration in Collage, part 2

Saturday, November 9th, 2013

“There has been an increased attention on collaborative practice in the arts in recent times with a perceived increase in artists working in groups or partnerships. For many other artistic enterprises, collaboration is the norm. Musicians form together into ensembles and bands; actors, writers and directors necessarily work in companies; and dancers, choreographers and musicians work in companies too, or in troupes. But for the visual arts the history of collaboration is less dominant, but perhaps, on the rise.”
— Kent Wilson, from the Central Highlands ArtsAtlas

The Target Practice Project is certainly taking on a life of its own. L T Holmes has established a new blogsite and yesterday she kindly featured me as a “guest blogger.” Thank you, Laura, for your generous spirit.

Several of my entries over the past weeks have illustrated thematic collaborations. How many other kinds are there at play in the contemporary collage scene? Please indulge me as I continue to count the ways.

There have been remarkable long-term projects such as Liz Cohn’s Playing with a Full Deck. The playing card format seems to be a perpetual stimulus to interesting collaborations in collage. And then there is always the creative teamwork that simply results from a meeting of improvisational minds. One artist will originate a piece and a partner will complete it. Sometimes the process works in both directions at once. In other cases, a collaborator will select ingredients in order that a fellow “chef” may prepare a delicious “entrée.” Zach Collins has devoted much of a Tumblr site to his prolific joint ventures. Musta Fior is internationally known for his many visual co-conspiracies. Below are representative products of collaboration in the medium that have recently caught the eye of The Collage Miniaturist.

Long have I been convinced that musicians had it all over visual artists when it came to the collaborative urge, but countless exponents of contemporary collage are helping to revise that perception. Ladies and gentlemen, keep jammin’ away!
 

“Playing with a Full Deck” exhibit
altered playing card collaborations
Gallery 6 PDX, 2013

4646
collage collaboration
F Free + J Gall, date unknown

(start and finish, title unknown)
collage collaboration
start by A Bealy, finish by Z Collins, 2013

(title unknown)
altered playing card collaboration
start by G Stadler, finish by Z Collins, 2013

deception
collage collaboration
(©2013 Flore Kunst/Aaron Beebe)

Cute commando 5
altered playing card collaboration
(©2013 Flore Kunst/Musta Fior)

(title unknown)
altered playing card collaboration
M Fior + + L J Miller-Giera, 2013

Ragbrai
altered playing card collaboration
T Tollefson + L J Miller-Giera, 2013

A Dreadful Idea
altered playing card collaboration
L T Holmes + C Chocron, 2013

Bigger Than That
altered playing card collaboration
T R Flowers + L T Holmes, 2013

Channel Crossing
collage collaboration
start by J Ratouin-Lefèvre, finish by D Daughters, 2013

24.2
collage collaboration
D Daughters + I Reitemeyer, 2013

Theme and Variation in Collage, part 3

Friday, September 27th, 2013

“To me I think artists in general make a statement — and for the rest of their lives — every album, every book — are variations on a theme.”
— Mark Mothersbaugh

Here are two examples of my ongoing participation in groups that collaborate through thematic emphasis. Gentle Zephyr is a response to the theme of “music” at the Collage facebook page, but I also made obvious reference to the previous album, “atomic bombs.” Tir de Duc is my second submission to the Target Practice project initiated by L T Holmes. The exciting collaboration that makes use of vintage paper targets has taken on a new significance in recent weeks. Collage artists could spend all their available time interacting with each other through the many active collaborative formats. It is important to find the proper balance between solitary investigation and the dynamic cross-fertilization taking place within contemporary collage.
 

Gentle Zephyr
collage miniature by J A Dixon
6.625 x 9.25 inches

•  S O L D

Tir de Duc
collage miniature by J A Dixon
vintage target from L T Holmes
8 x 10 inches
 
Purchase this artwork!