{"id":6842,"date":"2016-05-03T15:49:34","date_gmt":"2016-05-03T19:49:34","guid":{"rendered":"http:\/\/www.xorph.com\/jadixon\/?p=6842"},"modified":"2017-03-22T12:59:25","modified_gmt":"2017-03-22T16:59:25","slug":"a-final-glance-back-at-juxtapose","status":"publish","type":"post","link":"https:\/\/www.xorph.com\/jadixon\/archives\/6842","title":{"rendered":"a final glance back at JUXTAPOSE . . ."},"content":{"rendered":"

\u201cCollage artists form a unique and interesting community. The hunt for found materials is crucial to the process of many collage artists, causing them to be consummate collectors of things. Their collecting of material artifacts for their artistic appeal and possibilities, rather than for rarity or value, often makes them keenly aware of popular culture \u2014 present and past \u2014 with the subtle eye of an anthropological curator.\u201d
\n\u2014 Cecil Touchon<\/p><\/blockquote>\n

During a gallery talk in early March for JUXTAPOSE<\/em><\/strong><\/a>, I floated this question to my audience: \u201cWhat makes collage and assemblage rewarding for those of us who can draw?\u201d The answer for me is that we see in the found material of our physical surroundings the ingredients for a different kind of creative spontaneity. As in most improvisational activity, there is a splendid opportunity for mystery, surprise, discovery, and joy. But there is more to it than that. I am convinced that what distinguishes artists who do contemporary collage and assemblage is their acute connection to the mundane \u201cstuff\u201d of culture and the inner need to bring a measure of order and harmony from the sheer volume of material produced by our throw-away society \u2014 with its chaotic, numbing effect on our sensibilities \u2014 to infuse a new energy into that which would otherwise be discarded. It is a burning desire to create value when none exists and to find wonder, meaning, significance, and (yes) beauty, where none could have been expected.<\/p>\n

It was a distinct privilege to exhibit with some of the finest collage and assemblage artists in Kentucky<\/a>, and if nothing else happens on the art front for the balance of 2016, JUXTAPOSE<\/em> will have made my year.
\n <\/p>\n

\"Pretty<\/a><\/p>\n

Pretty Please Peony<\/em><\/strong>
\nMeg Higgins
\ncollage on wood panel<\/p>\n

\"collaborative<\/a><\/p>\n

collaborative collage on oversized playing cards<\/em><\/strong>
\nRobert H Hunt and Terry R Flowers<\/p>\n

\"No<\/a><\/p>\n

No Stopping<\/em><\/strong>
\nBrad Devlin
\nassemblage, found objects<\/p>\n

\"Intergalactic<\/a><\/p>\n

Intergalactic Passion<\/em><\/strong>
\nBrandon Long
\nrecycled promotional banners<\/p>\n

\"six<\/a><\/p>\n

six collage\/assemblage artworks<\/em><\/strong>
\nLisa Austin<\/p>\n

\"Pollinators<\/a><\/p>\n

Pollinators 1<\/em><\/strong>
\nKathleen O\u2019Brien
\nmixed-media collage<\/p>\n

\"Crossroads<\/a><\/p>\n

Crossroads<\/em><\/strong>
\nTeri Dryden
\ncollage from discarded books on panel<\/p>\n

\"Einstein<\/a><\/p>\n

Einstein<\/em><\/strong>
\nRobert Hugh Hunt
\ncollage with watercolor on canvas board<\/p>\n

\"JuxtaposeGrouping\"<\/a><\/p>\n

This image represents to me the strong diversity of the JUXTAPOSE exhibition and reminds me of the exceptional \u201ccompany\u201d my art shared earlier this year \u2014 a pair of shadow boxes by yours truly in proximity to pieces by Robert Hugh Hunt, Cynthia Carr, Teri Dryden, and Lisa Austin.<\/em><\/p>\n

<\/p>\n

It won\u2019t surprise you to learn that I am looking for a good excuse to publish a compilation of JUXTAPOSE images with artist comments. Please let me know if that interests you!<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cCollage artists form a unique and interesting community. The hunt for found materials is crucial to the process of many collage artists, causing them to be consummate collectors of things. Their collecting of material artifacts for their artistic appeal and possibilities, rather than for rarity or value, often makes them keenly aware of popular culture […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30,183,171,189,7,1,8,18,4,182,181,164,40,93],"tags":[],"_links":{"self":[{"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/posts\/6842"}],"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=6842"}],"version-history":[{"count":10,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/posts\/6842\/revisions"}],"predecessor-version":[{"id":8793,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/posts\/6842\/revisions\/8793"}],"wp:attachment":[{"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/media?parent=6842"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/categories?post=6842"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/tags?post=6842"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}