Archive for the ‘Collage’ Category

Gratuito

Monday, January 20th, 2014

“Starting a New Year is always an invitation to dream.”
— Wayne W Dyer

“Healthy striving is self-focused: ‘How can I improve?’ Perfectionism is other-focused: ‘What will they think?’”
— Brené Brown
 

Two-faced Janus scans both backward and forward, but, during the month that salutes his mythical duality, there is a third sight that also peers within. I have written about resolutions before. My essential take on the practice has not changed. This year, rather than focus on a checklist of objectives, I take personal aim at a phenomenon that plagues artists all along the spectrum of natural ability — perfectionism — a condition that tends to confound those who observe the creative class, as well as the people who wrestle with the disfunction. One of the most interesting scientists who writes about the subject is Brené Brown, PhD. She provides the clearest and most helpful understanding that I have discovered so far.

As dismissive as it may seem, it has been necessary for me to learn that I cannot care too much about what others think of me or think of what I create. For decades I have worn the hat of the designer or illustrator, which has sharpened my sensitivity to the perceptions and presumptions of others. Collage, for me, is the ideal antidote for perfectionism. For those of us who contend with the idea that something (anything! or everything!) must approach perfection, the notion of a “perfect collage” is absurd enough to defuse the fixation. There is no rule-book. There are no mistakes. There are no towering expectations. There is nothing upon which to heap all one’s perfectionist propensities. There is only the lure of investigation and the pleasure of discovery.
 

Dixon_Gratuito

Gratuito
collage miniature by J A Dixon
5.375 x 5.25 inches

•  S O L D

On reworking a “finished” piece . . .

Wednesday, November 27th, 2013

“. . . the completion of a work is only ever an abandonment, a halt that can always be regarded as fortuitous in an evolution that might have been continued.”
— Paul Valéry

Whether one thinks of the anonymous medieval monk embellishing a pre-existing manuscript, of Leonardo da Vinci working on the surface of his older painting, or of George Lucas making alterations to the original Star Wars trilogy, there is a long and sometimes controversial history of “refining” creative works already accepted as finished. I remember reading about Asian masters who thought nothing of making additions to artworks created in earlier eras. Apparently some art historians believe that halos were added to religious masterpieces much later. Duchamp did not draw those whiskers on the actual Mona Lisa, but he might have, had he been able to get away with it. What has all this to do with collage? Perhaps our entire genre came into being with the essential hunch that worthwhile art could result from revising something in contrast to its original purpose or frame of reference.

There is a wide spectrum to consider, if the subject under discussion is “altered art.” We might be talking about anchoring the concept for a collage on a singular appropriated image or transforming a mundane object into a new work of art. (L T Holmes recently shared a multi-part, personal tour of her Don’t Get Jittery On Me.) Or we might be referring to the simple idea of returning to a work already deemed complete and “writing a final chapter” to improve it. Think long enough about this topic and you may ask yourself whether any artwork is ever really done. Going back to Leonardo and Lucas for a moment, both turn up from time to time in attributions that suggest they also may have altered a version of the Valéry quotation more pithy than the poet most likely ever expressed.

“A poem is never finished, only abandoned.” — Paul Valéry
“Art is never finished, only abandoned.” — Leonardo da Vinci
“A movie is never finished, only abandoned.” — George Lucas

Forgive me if all of this undue rambling merely serves as an opportunity to highlight two “finished” collage artworks that I recently chose to revisit. Both examples also illustrate the complications of visually comparing two images created with different digital devices. After writing about a corresponding issue last week, I have since discovered S Caswell-Pearce’s related words from an April entry at paper with a past. My images for Rhapsody with Fever Chills demonstrate the same scanner/camera differential, although the scan of the new version is a better rendition of the artwork’s strong complementary effects. (This piece is currently on display with the “Seeing Red” exhibit in the McKinney Conference Center at Kentucky’s Constitution Square Historic Site.) The digital documentation of a revised Broken Qualifications, having shared the original version previously at this site, became a bit more challenging the second time around, given the addition of three-dimensional ingredients. At any rate, neither piece had ever felt fully resolved, although I had no specific plans to “reopen the case” until I made a broader reassessment of my inventory. Did I enhance them, ruin them, or just squander my time? You be the judge.
 

Rhapsody with Fever Chills
collage on paper by J A Dixon
7.5 x 10 inches, available for purchase

Broken Qualifications
collage/assemblage by J A Dixon
6 x 8 inches, available for purchase

On collage derivations . . .

Sunday, November 17th, 2013

“I believe that it is better to be receptive to correction than to be satisfied with one’s own imperfection, and to think that one is oh so original!”
— Piet Mondrian

As I mentioned in a welcome statement from over a year ago (and perhaps more recently), I have nothing against digital collage, although I do maintain a bias in favor of conventional (so-called analogue) techniques, especially at this site, but don’t expect me to become “all blogmatic” about the topic, since I have been known to gratefully accept commissions for digital montage and affirm my respect for those who do collage illustration at a high level. The point I want to make today is that, so far, I have not generated much enthusiasm for manipulating or reproducing my “tear and glue” artworks as digital prints or “art merchandise.” Someone recently asked if I sold note-card versions of my miniatures, and I had to admit that “I have never quite gotten around to that.”

There are many reasons, both good and bad, to produce derivations of one’s own work for the marketplace. There are also many reasons, both good and bad, to restrain oneself. I would hope to be open-minded about the subject. Not everyone who enjoys collage can afford to collect originals. In addition, I often get ideas about how to combine separate works into a composite digital design, exploring in the process a distinctive aesthetic resonance that might not be discovered in other ways. I occasionally imagine how one of my miniatures would look as a super-enlargement, or I envision an exhibition of large canvases created from Giclée blow-ups of small works. No doubt, there is an appropriate place for digital technology in the medium, whether on the front- or back-end of the process. The digital image is, of course, the stock in trade of any artist with an active presence on the Internet. That comes with its own set of issues that I plan to cover in my next discussion. Meanwhile, I hope to preserve my emphasis on a traditional methodology and observe how other collage practitioners adopt emerging technology to enhance their fine-art investigations.
 

Microcosmic Moments
compilation of nine miniatures by J A Dixon
proposed digital concept, variable in dimensions

Modular Zowee
composite of collage details by J A Dixon
proposed digital concept, variable in dimensions

Mystery Solved (detail)
super-enlargement of collage detail by J A Dixon
proposed digital concept, variable in dimensions

Mystery Solved (set of four cards)
merchandise with collage details by J A Dixon
proposed digital reproductions, 5.75 x 4.5 inches

Broadband Access
digital montage by J A Dixon
editorial illustration for ACUTA Journal

The Paris Papers

Friday, November 15th, 2013

A recent series of intensive collage investigations undertaken by Cecil Touchon while abroad — resulting in The Paris Papers — are more than worthy of our careful study. One of the medium’s most assiduous practitioners, Mr. Touchon clearly earned a well-deserved break after his significant contributions to the Collage Centennial, and yet it is no surprise for me to learn that he would combine it with such a Herculean self-assignment. We are all the beneficiaries.

p s ~ He also let everyone know the good news that he quit smoking during his month-long adventure hanging out with collaborator Matthew Rose. Amazing.
 

fs3384ct13-cecil-touchon-web

Fusion Series #3384
collage on paper by Cecil Touchon
made with bits of paper from Parisian street posters
8 x 12 inches, 2013
 

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

Autumn Ode (to Merz)

Wednesday, October 23rd, 2013

This is a collage artwork that I currently have on display as part of the “Autumn Glory” exhibition in the Mahan Gallery at the Boyle County Public Library. If you find yourself in downtown Danville, please stop by the show. It lasts until December 1st.
 

Autumn Ode (to Merz)
mixed-media collage by J A Dixon
16 x 20 inches, framed
available for purchase

l’alato

Sunday, September 15th, 2013

 

l’alato
collage miniature by J A Dixon
5.5 x 6.75 inches
private collection

Maximalism and Minimalism in Collage, part 5

Tuesday, August 20th, 2013

“I have devoted myself to the technique of cut-paper collage.”
— Hope Kroll

Mysterious and spooky? Could it be possible that I am examining an art collection in the Addams mansion? No. The essence is far too rarefied for that. Do I instead find myself at a museum of lost Victorian curiosities? No. The effect is much too audacious for that. Perhaps you already have guessed my desirable plight. Yes, dear reader, I am slowly steeping in the sublime virtuosity of a Hope Kroll collage.

Known to many as the “paper surgeon,” the artwork of Hope Kroll would be astonishing enough for her extraordinarily meticulous “scissorship,” but she has clearly decided to put her demanding technique into service for eloquent visual statements that intrigue both the mind and eye. As Cecil Touchon points out, this would be outstanding enough, but she does not stop there. In most of her collage assemblies, she also introduces a signature three-dimensionality to heighten the surreal impression. A maximalist at heart, the prolific artist would certainly agree with Milton Glaser that “Less in not necessarily more.” Somehow she manages, time after time, to achieve unified outcomes from highly complex compositions, while at the same time evoking a powerful atmosphere that first entices, then engrosses, and finally beguiles the observer. I occasionally find her work a bit unsettling, but never unsavory, and always aesthetically exquisite. Like a fine bouillabaisse, her creations delight multiple senses.

Sample a few of her delicious recipes below and “hope,” as I do, that she continues to make many more.
 

Reconfiguration
Hope Kroll, 2003

Grooming
Hope Kroll, 2006

The Way Children Learn
Hope Kroll, 2010

Science And Faith
Hope Kroll, 2008

Thought Process
Hope Kroll, 2009

Ghost in the Machine
Hope Kroll, 2012

Back Here in 43119

Sunday, July 14th, 2013

“I am looking for an art to serve the new millennium, to re-define its culture, to question its philosophy, to re-examine its images. What we thought of as art is about to be reconfigured by a new generation born after 1985…”
— George Rodart

George R drew my attention to a thought provoking post from 2008.

If painting can survive the transition from cave art to Byzantine frescoes, through the Renaissance, the conquest of a new hemisphere, the rise of the machine, and planetary war on an industrial scale, it can surely navigate an emerging globalization based on the total commercialization of culture. A small few will redefine it. Some will understand it. Many will reject it. Most will just consume. Until the next ricochet.

Collage grew out of painting. To many, the essence of it has never been anything but painting. Will others eventually look back and say that collage penetrated and shaped all other media, or will they say that painting reclaimed collage to transform itself yet again?
 

Back Here in 43119
collage miniature by J A Dixon
6.5 x 7 inches
 
Purchase this artwork!

All Things Collage: Year One

Friday, July 12th, 2013

“Any fool can carry on, but only the wise man knows how to shorten sail.”
— Joseph Conrad

Looking back on a full year as a blogger, many of my initial objectives have been met, but there are even more subjects to tackle in the coming months. Can I find the right balance between words and images, welcoming others to act as better scribes for what is happening in collage and remembering that I would rather be holding a pair of scissors than typing at a keyboard? The exceptional print quarterly out of Canada, Kolaj, has also celebrated its first birthday. 2012 was the perfect year to salute a century of collage as a modern art and also to look around, assessing the current maturity of the practice. I still have much to say about the pioneers and exemplars — Gris, Schwitters, Hausmann, Höch, Cornell, Hamilton, Johnson — for there is much to observe and absorb about their seminal talismans and bodies of work.

It is equally important to evaluate more of the leading and emerging artists now actively producing what may be known as “post-centennial collage,” perhaps the most vital period of cross-pollinated output in the medium’s history. Where to focus next? Those who magnify the traditions of Dada, Surrealism, Fluxus, or Layerism? Dedicated collage abstractionists such as Touchon, Dryden, Romoff, or Gordon? Masters of the outer reaches of a Maximalist/Minimalist spectrum such as Kroll, Reitemeyer, or De Blauwer? I have for some time lamented the lack of a visual-arts phenomenon equivalent to how musicians have traditionally improvised together, but my recent awareness of dynamic collaborations between collage artists is forcing me to change my mind. Is it time for me to take a closer look at the creative fusions instigated by Collins, Holmes, Daughters, or Wilkin?

My, my . . . have we just laid out another year or more of entries? And I have not yet “scraped the working surface” of all the collage artists who make the contemporary scene so exciting. Do I possess the necessary wisdom to tame my ambitions and “shorten sail?” My mind rebels at the idea that I cannot be an artist and a writer, too. I am no scholar, and some art historians would scoff at my correlations, but I cling to the notion that there is a place for insights about our medium that can come only from a person who faces the same challenges as my working peers when confronting a pile of scrap.

One more thought: As the digital age sweeps over the planet, is there also taking place a not-so-quiet backlash against the erosion of manual dexterity? If so, is there a more compelling counter-trend example than the current explosion of tearing, cutting, assembling, transferring, and pasting? And beyond the familiar “analog” technique, what can be said about the deep influence of visual collage on the preponderance of montage in all things sensory — music, performance, film, and media design? This site can become a place where all of this is explored, discussed, shared, and challenged. Much of that is up to you, valued reader. Meanwhile, I shall continue to see, write, and make more art. Stop by again, soon!
 

Every Instinct of My Being Rebels
collage miniature by J A Dixon
7 x 5 inches
 
Purchase this artwork!

Maximalism and Minimalism in Collage, part 3

Saturday, July 6th, 2013

“My scraps rarely get thrown away and are often the main inspiration for getting started on a piece.”
— Fred Free

Slowly open your eyes to find yourself in an oddly familiar space that is part tool & die shop, Zen garden, and hi-fi showroom. Mom is there in her polka-dot apron, and somewhere in the next room, The Adventures of Jonny Quest has gone to commercial break. It may well be a surreal warp in quantum time, but, more than likely, it is the distinctive world of a Fred Free collage.

I cannot say if Fred Free uses his given name or a pseudonym, but it has never really mattered to me. He is one of the most actively intriguing artists working in the medium today. His superb compositions often look more minimalist than they actually are, offering delightful complexities that blend a clearly restrained interplay of vintage ingredients and street rubbish with moods that fluctuate between reverence for lost motifs, wry humor, and a mild disenchantment with 21st-century culture. While cohering to a recognizably defined vision, FF skillfully explores the spectrum of minimalism to maximalism in collage. In spite of a “yesteryear” oeuvre, he makes adept use of online platforms and social networks, while also effectively promoting visual cross-pollination at Tumblr by “endorsing” other artists with his Variety Showcase.
 

fantasy f
Fred Free, 2005

to pay
Fred Free, 2007

conceal
Fred Free, 2008

digging for the foundations on
Fred Free, 2011

activities
Fred Free, (date unknown)

7413
Fred Free, 2013