{"id":7109,"date":"2016-08-05T10:56:48","date_gmt":"2016-08-05T14:56:48","guid":{"rendered":"http:\/\/www.xorph.com\/jadixon\/?p=7109"},"modified":"2017-03-22T12:46:16","modified_gmt":"2017-03-22T16:46:16","slug":"the-surreal-face-part-two","status":"publish","type":"post","link":"https:\/\/www.xorph.com\/jadixon\/archives\/7109","title":{"rendered":"The Surreal Face, Part Two"},"content":{"rendered":"

\u201cIf we adopt a surrealist viewpoint, art logically must be and naturally will tend to be surrealist, and thus be justifiable only in its ability to reveal the new, the \u2018never seen,\u2019 the parallel activity of thought and chance in consciousness.\u201d
\n\u2014 Alan Gullette, 1979<\/p><\/blockquote>\n

You may recall, dear visitor, my June jaunt<\/a> at this site into the staying power that \u201cthe surreal face\u201d maintains in contemporary collage. I shall highlight a few more examples below. \"Old<\/a>When a distinct sub-genre of the medium intrigues me, as this one clearly does, I often attempt to \u201cdiagram its visual pedigree\u201d through the history of modern art. This is not an easy task for a non-academic (nor one, perhaps, for a scholar). A \u201ccollage geneologist\u201d can run the risk of getting sidetracked into Man Ray or Ren\u00e9 Magritte, only to question whether use of the word \u201csurreal\u201d is relevant at all. Does it make more sense to trace a connection from Picasso to Tatlin to Hausmann\u2019s 1920 homage<\/a> to the Russian Constructivist and thereby leap-frog Andr\u00e9 Breton<\/a>\u2019s \u201cpsychic automatism\u201d entirely? As much as I love the history of collage, all that delineation is beyond the scope of your humble Collage Miniaturist.<\/em> \"Pulcinella\u2019s<\/a>\"Askance<\/a>Suffice it to say that the gongs of Dada<\/a> still reverberate. Ultimately, we are more concerned with a phenomenon that is alive and well among contemporary collage artists (and that long ago shed any musty trappings of Weimar Republic protest, Trotskyite dilettantism, or hostility toward religion). Even a cursory review of recent collage output exposes an enduring thread weaving its way through students, emerging professionals, veteran practitioners, and masters of the medium. Rather than muddy ourselves grubbing 20th-century roots, let us instead ask two important questions \u2014 What is the elusive essence of \u201cthe surreal face,\u201d and why does its enduring appeal lack any sign of a downtrend?
\n <\/p>\n

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

Isabel Reitemeyer<\/a><\/em><\/strong>
\nHer consummate approach<\/a> convinces me that less indeed can be more.<\/p>\n

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

Robert Hugh Hunt<\/a><\/em><\/strong>
\nFresh, intuitive, culturally aware. Robbo\u2019s art<\/a> springs from individuality.<\/p>\n

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

Manu Duf<\/a><\/em><\/strong>
\nThere is never a timid thing about his proficient approach to collage<\/a>.<\/p>\n

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

Eduardo Recife<\/a><\/em><\/strong>
\nThe Brazilian illustrator<\/a> sets a high standard for digital collage.<\/p>\n

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

Erin Case<\/a><\/em><\/strong>
\nThe Michigan-based artist<\/a> is rapidly making her mark as a collage pro.<\/p>\n

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

Claudia Pomowski<\/a><\/em><\/strong>
\nThe versatile graphic artist<\/a> is a \u201ccollage experimentalist.\u201d<\/p>\n

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

Jordana Mirski Fridman<\/a><\/em><\/strong>
\nThis emerging designer\/artist<\/a> is \u201cexploding\u201d onto the medium.<\/p>\n

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

Julia Lillard<\/a><\/em><\/strong>
\nThe self-taught Oklahoma artist<\/a> has nailed \u201cthe surreal face.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cIf we adopt a surrealist viewpoint, art logically must be and naturally will tend to be surrealist, and thus be justifiable only in its ability to reveal the new, the \u2018never seen,\u2019 the parallel activity of thought and chance in consciousness.\u201d \u2014 Alan Gullette, 1979 You may recall, dear visitor, my June jaunt at this […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[208,206,27,29,24,205,203,83,36,13,18,185,207,193,54,204,209,17,164,194,26,92],"tags":[],"_links":{"self":[{"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/posts\/7109"}],"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=7109"}],"version-history":[{"count":10,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/posts\/7109\/revisions"}],"predecessor-version":[{"id":8785,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/posts\/7109\/revisions\/8785"}],"wp:attachment":[{"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/media?parent=7109"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/categories?post=7109"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.xorph.com\/jadixon\/wp-json\/wp\/v2\/tags?post=7109"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}