Archive for the ‘Exhibitions’ Category

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
also available for purchase

New Year, New Art!

Tuesday, January 6th, 2015

Opening reception: Thursday, January 8, 6–8pm
Community Arts Center, Downtown Danville, Kentucky
 
New Year, New Art ~ January 2 to February 20, 2015 

 

Gallery Hop Stop!

Tuesday, November 11th, 2014

 
Gallery Hop Stop ~ November 14, 2014 

 

Fifteenth Cosmosaic

Wednesday, November 5th, 2014

“Curiosity about the unknown has no boundaries. Symbols, images, place and cultures merge. Time slips away. The stars, the cards, the mystic vigil may hold the answers. By shifting the point of view an inner spirit is released. Free to create.”
— Betye Saar

Cosmosaic was the word I chose in 1998 for a collage series that marked my first efforts at bringing to larger artworks what I had learned from creating numerous miniatures. They were intended as gifts for loved ones, with each focusing on the unique soul of the intended recipient. After completing fourteen of them over a seven-year span, I produced another in 2006 to exhibit with The Society of Layerists in Multi–Media. It relied on a more time-intensive technique than prior Cosmosaics, was more deliberate in conceptual development, was meant for no specific individual, and was more overtly metaphysical than any collage artwork I had done previously. As far as I was concerned, it was clearly a Cosmosaic, but it also stood apart from the series pattern and subsequently made the rounds of various exhibitions between periods of storage until we expanded our gallery space last year. Just as I had settled into the idea that this piece might always reside at my studio, it found a buyer this past weekend during the Open Studios ARTTOUR.

After looking through some old promotional notes, I was a bit surprised to discover the degree to which I had described the piece in spiritual terms:

“The largest composition in an eight-year series, this most recent ‘Cosmosaic’ represents my intensified concern with symmetry, proportion, and balance, both thematically and aesthetically. A spontaneous blending of found material — symbolic images, familiar icons, and mundane fragments — it shapes an interpretation of ‘the moving stream of life.’ The visual approach reinforces my sense of a profound interconnectedness, with eternal access to atonement, forgiveness, illumination, opportunity for soul attainment, and individual freedom through the Universal Christ.”
 

Fifteenth Cosmosaic ~ a mixed-media collage by J A Dixon

Fifteenth Cosmosaic
mixed-media collage by J A Dixon
17 x 21 inches

•  S O L D

The word is getting out . . .

Wednesday, October 29th, 2014

To all art lovers near Central Kentucky:
Please stop by our Open Studios this weekend.

T4the-Heart_ko_7164_600wd

“Talisman for the Heart” by Kathleen O’Brien

Annual Open Studios ARTTOUR

Sunday, October 19th, 2014

Be sure to stop by the studio if you’re in our neck of the woods during the first weekend of November!

Annual Open Studios ARTTOUR

Wednesday, September 17th, 2014

 

 
I am pleased to announce that we shall open our studio and gallery to the public on the first weekend of November. For more information, please visit this page.
 
 
 
 
 
 
 

a message to Aunt Erma, 1964

Wednesday, July 16th, 2014

“Have been real bad about not writing.”
—Miles, Jr.

My collage on 50-year-old postcard arrived in Wales and it was posted to the ABAD site today. The reverse of the vintage card is probably more interesting than my improvisation on the image side. A message from Miles, Jr. (sitting in the Louvre, resting feet more tired than eyes) was written on July 10th and received an Army Air Force postmark on July 13th. Apparently his Aunt Erma was in the hospital — a nephew reaching out to “the only family person who knows these places.” Whether or not she ever came home is unknown, but we can only imagine that the card from Paris evoked for her more than a few memories of Europe, the bitter as well as the sweet.
 

ABAD 2014 (reverse of vintage postcard substrate)
collage on 1964 postcard by J A Dixon
6 x 4 inches, not for sale

A Book About Death ~ Wales

Thursday, July 3rd, 2014

“The project has become The Book About Living.
—Sonja Benskin Mesher

Ray Johnson, the original “most famous unknown artist in the world,” produced his A Book About Death during the years 1963 to 1965. The pages were randomly mailed and offered for sale. Complete copies were compiled by a rare few. Johnson was a significant bridge between the groundbreaking work of Schwitters, the sensibilities of Cornell, and the emergence of what would become the most widely recognizable features of Pop Art. He was highly influential in the Mail Art, Installation Art, and Performance Art movements, as well as late 20th-century neo-Dadaist trends.

Since 2008, Paris-based Matthew Rose has actively aroused a worldwide interest and vitality that perpetuates the legacy of A Book About Death. A new call to artists from the Royal Cambrian Academy in Wales and the full history of ABAD can be studied at this site. An exhibition at MoMA Machynlleth planned for later this year will include a collage from me (featured below, produced on a 50-year-old postcard). An online archive will share details of the exhibition and record artworks as they come in. Participate! You have until September 30th to mail your contribution.
 

ABAD 2014
collage on 1964 postcard by J A Dixon
6 x 4 inches, not for sale

“Oh, the Places You’ll Go”

Friday, June 20th, 2014

“Art is the only way to run away without leaving home.”
— Twyla Tharp

Places to go, ways to travel, and flights of fancy . . . A series of local exhibitions at the Boyle County Public Library’s Mahan Gallery has been an effective catalyst for me to create new pieces based on unifying themes. I have recently experienced mixed emotions about the ubiquity of vintage material in contemporary collage, but the topic of this show had me hunting through my morgue of old postcards and other relics to produce a pair of artworks on canvas. Yes, we all dig the instant “gravitas” of using old stuff, but will art historians say we copped out, if we do not accept the challenge of working with ingredients from our own present-day culture? I am just musing about the state of the medium, not any artist in particular. I see a hundred or more collage artworks posted online each week that rely exclusively on 20th-century material, and much of it seems stuck in a bygone avant-garde style. It is important for all of us to keep in mind that the Dada artists so widely emulated worked with material from their own time. Perhaps the opportune approach is to blend it all together, past and present. As post-centennial collage artists, we also owe each other a bit more constructive criticism than I currently observe. As the details below illustrate, I have absolutely nothing against using vintage material. I think that artists such as Hope Kroll or Fred Free or Matthew Rose (to offer only three examples) are creating some of the more exceptional work in the medium. On the other hand, there are many who seem to be using it as a crutch, over-relying on the antique impression of the ingredient material itself, rather than the juxtapositional synergy or overall aesthetic effect.

As the artworks for “Places” also demonstrate, I continue my effort to liberate a collage from the traditional glass barrier. To do so, it is necessary to find a proper level of protective sealant to balance visual appeal and durability. I prefer to avoid an overly polymerized impression with a finished surface. Because I primarily work with found material, I have had to learn which ingredients can handle direct exposure (for an effect similar to the painted surface). Nevertheless, some are simply too fragile and will always require a safe abode under glass.
 

 

left: Here and There (detail)
right: Now and Then (detail)
two collage artworks on canvas by J A Dixon
12 x 12 x 1.5 inches each
available for purchase

Many Waters Under Heaven

Friday, June 13th, 2014

“Put stardom and success aside and just go out and do it. It’s like painting. Don’t talk about it. Or, like writing. Put it down.”
— Jonathan Winters

“Don’t think about making art, just get it done. Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art.”
— Andy Warhol

After learning about a call for entries on the theme of “water,” at the new First Southern Community Arts Center in nearby Stanford, Kentucky, I leaped at the theme with a minimum of thought or calculation. I was overdue for the opportunity to create a larger piece, and it was good for me to push aside all the internal questions and mental gyrations which too often intrude on the genesis of a new work or new point of public contact. I mixed a batch of wheat paste, added a stabilizing measure of white glue plus acrylic medium, and dug into my stash of nature images. Hand manipulation of the surface with wet, rectilinear ingredients became an almost papier-mâché-like process that soon involved shapes of pure color. A sort of “low-tech pixelization” began to suggest the gentle clash of primeval and present — a Garden of Eden sweeping forward to the modern digital world.

When I delivered my artwork to the gallery and was assisted by a local artist and volunteer, Roni Gilpin, I could not have been treated better. Chasing my passion for collage, meeting pleasant people, and breaking into a new venue — I must remind myself from time to time that this is what it’s all about. I am excited about today’s artist reception, 4 to 7 pm (in downtown Stanford, adjacent to the superb Bluebird Cafe). Family is visiting from Davis, California, and everything is shaping up for an exceptional evening!
 

 

Many Waters Under Heaven
mixed-media collage
by J A Dixon
33 x 11.25 x 1.5 inches
 
Purchase this artwork!

Roni “Sister” Gilpin
volunteering at
First Southern Community
Arts Center