{"id":2987,"date":"2013-11-20T13:54:01","date_gmt":"2013-11-20T17:54:01","guid":{"rendered":"http:\/\/www.xorph.com\/jadixon\/?p=2987"},"modified":"2016-02-07T10:33:09","modified_gmt":"2016-02-07T14:33:09","slug":"this-thing-we-all-do","status":"publish","type":"post","link":"https:\/\/www.xorph.com\/jadixon\/archives\/2987","title":{"rendered":"this thing we all do . . ."},"content":{"rendered":"

In response to an assertion that his environmental works are impossible to visually document\u2014<\/p>\n

James Turrell: \u201cWell, someone has to make up for all the work that photographs better than it is.\u201d
\n \n<\/p><\/blockquote>\n

Mr. Turrell\u2019s recent quip brings to the forefront a distinct feature of representing or documenting one\u2019s artwork. Does it really look like the image being included with a call for entries, posted at an online marketplace, or shared on a social network? Of course, the photographing of artwork to enhance its appeal did not begin with digital devices or the World Wide Web. Most of us are familiar with the curator\u2019s disclaimer that reserves their right to reject artwork which arrives substantially different than visually represented when proposed. Even non-artists know how easy it is to boost the contrast or color saturation of a digital image. Setting apart from our discussion works that are essentially digital from the outset, it is important for anyone working in the medium of traditional collage to squarely meet this challenge: How do we properly interpret the visual experience of seeing our artwork firsthand?<\/p>\n

Needless to say, faithfully photographing or scanning conventional artwork is something that professionals face every day, but how can it ever be an exact science? What is the \u201ctrue\u201d appearance of anything? As the three examples below demonstrate, one of my recent collage artworks photographed differently under three different lighting conditions, before it was delivered. The more neutral version is closer to how it might \u201ctypically\u201d appear, but perhaps the most faithful rendition would be an image made in the setting for which the piece was commissioned, under the unique lighting conditions of that particular environment, and then subsequently balanced for a reasonable match to the naked eye.<\/p>\n

I review nearly a hundred collage artworks a day, as my eye passes over numerous online displays each week. What percentage of these creations actually look like the corresponding digital image? We all know what it\u2019s like to see something and think, \u201cI wonder if it really looks like that.\u201d On the other hand, we also know what it\u2019s like to scan a piece and think, \u201cWow. That looks better than I expected.\u201d <\/p>\n

All that any of us can do is establish a level of integrity about representing work to others. For those who routinely cheat or push an ethical boundary? Rest assured; the habit will eventually come back to haunt their studios.<\/p>\n

And now, a few words about today\u2019s collage example. I must first express my appreciation to Lee and David Simpson for the commission that resulted in this thing we all do<\/em><\/strong>, a mixed media and collage artwork on canvas. To infuse the composition with images that represent aspects of significance to their lives, this piece was personalized by using the clients\u2019 own artifacts and memorabilia, as well as additional ingredients carefully selected from my morgue. Creating works with special meaning to those for which they were intended has always been some of the most fulfilling time I have spent as an artist.
\n <\/p>\n

<\/a>  <\/a>  <\/a><\/p>\n

this thing we all do<\/em><\/strong> (three different digitals)
\ncollage with combined mediums on canvas by J A Dixon
\n15.75 x 27.75 inches (22.50 x 34.50 inches, framed)
\ncollection of L and D Simpson<\/p>\n

<\/a><\/p>\n

this thing we all do (detail)<\/em><\/strong>
\ncollage with combined mediums on canvas by J A Dixon
\n(photographed and digitally balanced to match original)
\n <\/p>\n","protected":false},"excerpt":{"rendered":"

In response to an assertion that his environmental works are impossible to visually document\u2014 James Turrell: \u201cWell, someone has to make up for all the work that photographs better than it is.\u201d   Mr. Turrell\u2019s recent quip brings to the forefront a distinct feature of representing or documenting one\u2019s artwork. Does it really look like […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11,110,22,18,112,111,39],"tags":[],"_links":{"self":[{"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/posts\/2987"}],"collection":[{"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/comments?post=2987"}],"version-history":[{"count":10,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/posts\/2987\/revisions"}],"predecessor-version":[{"id":6072,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/posts\/2987\/revisions\/6072"}],"wp:attachment":[{"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/media?parent=2987"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/categories?post=2987"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/tags?post=2987"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}