Tuesday, January 31, 2012

[130] Jon Nelson - USA

[130]  OM.2011.222 - Jon Nelson - USA - collage
Gift of the artist
Jon Nelson is a collage/assemblage artist who hosted the nationally syndicated radio program Some Assembly Required from 1999-2011. Jon also donated a complete collection of CDs of his shows to the museum. listen here while you check out this blog:
You can see some of Jon's  visual work at:
and for information about his sound collage work, go to:

Some Assembly Required features work by a variety of artists working with bits and pieces of their media environments, giving something back to the cultural landscape from which they so enthusiastically appropriate.

The genre is still young, despite examples dating as far back as 1961, when James Tenney constructed a tape collage borrowing heavily from cut-up fragments of a recording by Elvis Presley. Both provocative and surreal, this style continues to evolve and to challenge.

Since its inception in 1999, host Jon Nelson produced over thirty artist features, interviewing everyone from John Oswald and The Evolution Control Committee, to Christian Marclay and DJ Spooky - providing a variety of unique perspectives on the nature of this daring and creative style of expression.

Each Interview Episode is freely available to download HERE. Also check out the SAR Q&A, featuring profiles on over 175 of the sound collage artists played each week on Some Assembly Required.

[128] D.S.H. Watson - USA

D.S.H. Watson - USA

[Flux4-028] Game: Screw People; Take Their Money

felt lined wooden box with small screw driver, screw, dropper with money inside, Instructions.

Description: game box containing gaming pieces:

  1. screw
  2. screwing device
  3. money extractor
Origin: Fluxhibition #4 - 2010

    [129] Susanne Thing Skene - Canada

    om.2012.027 - Susanne Thing Skene  - Canada - Japanese Koi Garden - collage
    om.2012.028 - Susanne Thing Skene  - Canada - Inner Demons - collage

    [127] Fluxus Laboratories - International

    Fluxus Laboratories International - The Wonders of Plastic Surgery #001 - 2010 - Digital photo montage using vintage high school yearbook photographs

    [126] Cecil Touchon - USA

    Cecil Touchon - USA - The Patron - collage with vintage magazine papers

    Monday, January 30, 2012

    [125] Marianne Lettieri USA

    Marianne Lettieri - USA - 2008 - "Shelf Life -  Homage to Hannalore Baron." assemblage

    Origin: 2008 exhibition Under the Influence at the Longview Art Museum 

    My mixed media constructions quietly protest a world so fast-paced and confrontational that the enchantment of everyday life is often missed. I work with the articulate and economical imagery of cultural detritus to create art that inspires thoughts about grace, gratitude, and introspection.
    The materials that make their way into my assemblages are rich in history and pathos: architectural elements, vintage documents, animal cages, and remnants of domestic arts, toys, and fashion. I will often select an object because of its obvious metaphor or symbol, incorporating its voice as a form of shorthand for social commentary about who we are and how we live.

    [124] Christian Gastaldi - France

    OM.2011.202 - Christian Gastaldi - France - 33 x 24 cm - 13x9.5 inches - collage

    Artist Statement
    Of flesh and blood
    Opened by scars
    The inner fluids
    Thrown on the wall
    As if calling
    For a last gasp.
    If one of the brightest facets
    Of beauty was
    Rhythm of a sentence.
    In Art,
    The quest 
    Of surpassing balance.

    [123] Angela Davies - United Kingdom

     OM.2009.016 - Angela Davies -United Kingdom - Collage with found materials and sewn threads

    [122] Cecil Touchon - USA

    Cecil Touchon - USA - Fusion Series #1074 - 1997 - 28x24 inches

    [121] Gregory Steel - USA

    Gregory Steel - USA - Pop - 2007 - construction - plywood, plastic resin, diaper pin, white point

    [from the 2007 exhibition White on White at the Fort Worth Arts Center ]

    [120] Gary Bibb - USA

    Gary A. Bibb - USA - Sustaining Balance - 2007 - collage on paper

    [from the 2007 exhibition White on White at the Fort Worth Arts Center ] 

    [118 & 119] Cory Celaya - USA

    Cory Celaya - USA - Untitled - 2007 -  4x10 inches each
    encaustic collage on wood - encaustic wax, paper and foil

    [from the 2007 exhibition White on White at the Fort Worth Arts Center ]  


    [117] Marie Stockhill - USA

     Marie Stockhill - USA - I Once was White - 2007 - collage with antique papers

    [from the 2007 White on White exhibition - this images used for the cover of the catalog]

    [116] Chris Mulart - USA

    Chris Mulart - USA - White Construction - c.1991 - 24x22 inches - wood with white paint
    Origin: Purchased by Cecil Touchon from William Campbell Contemporary Art Gallery. 
    Used in the 2007 White on White exhibition

    [114, 115] Caranovic Predrag - Serbia

    Caranovic Predrag - Serbia - antique photograph in a gold frame from Serbia - 4.5x6.5 inches

    "I bought this picture of Gypsies in the market. At that moment I was reminded of a work by Man Ray. A few years later I realized it's probably a factory for the production bamboo hats. But I do not care. For me, this like exhibition of nothing. This is a picture in a frame kolage. This is the story of the photograph." - Caranovic Predrag

    Caranovic Predrag - Serbia - 'Bullshit ...Unexpected Experience'
    materials: wooden box with latch, printed matter, red velvetine fabric,
    bullshit encased in a half sphere of resin
    [from Fluxhibition #4 -016] 

    I started the path of classical sculpture, since 1974; over the time transfer myself to Object Art. But for the last few years I have become closer to Assemblage. Now I started a new direction, from something that I have called Essays sculpture.
    The shown image is montage of my effort to try to point to the possibility of assembling the frame as I am recognized.

    [111, 112, 113] Dilar Pereira - Portugal

    [2010.035, 036, 037] Dilar Pereira - Portugal - Three untitled ink drawings of collages
    From Baker's Dozen Collage Exchange #10

    [110] - Kathleen McHugh - USA

    OM.2012.026 - Kathleen McHugh - USA - Box Assemblage
    Size: 3.5 x 3.5 x 2. - Media: Watercolor, dyes, acrylic, ink and pastel on Asian papers, and blown egg / with peacock feather.


    My introduction to collage and assemblage as a serious art happened in a workshop I took with Betye Saar ( ) Seeing 'The Liberation of Aunt Jemima,' learning the story behind the inspiration of the work, and how the medium of assemblage itself is the carrier of the message, is a formative influence in how I approach this art form. In addition to sharing her own artistry, Saar was a wealth of knowledge in visual language and techniques. The experience with her ended on the note of "go dumpster diving, rummaging, and while sifting through ephemera find your own aesthetic and voice". In the early 1980's during the time I was in her class, a dominant influence in the arts was minimalism. The drive seemed to be to eliminate anything superfluous. IE., Get rid of the wing of the bird, and keep the curve. It seemed as if anything visceral and tactile was a cheap trick or distraction from "real art". Real music didn't have a melody, real visual art didn't have lush painterly sensuality, and real architecture forgot about its relationship to human scale. Assemblage and collage seemed like air and water to me, necessary for the life and survival of the human element of artmaking within the larger dry desert of intellectual art. This box assemblage is created in memory of the emotion I felt when first seeing assemblage: assemblages and collages as visual melodies and carriers of humanistic expression and communication.  

    [109]- K. S. Ernst - USA

    OM.2012.025 - K. S. Ernst - USA - "The Sound of My Voice" - Shadow box assemblage

    [108] - Diane Schapira - USA

    OM.2011.214 - Diane Schapira - USA -  - "Reflections on Allusions to Memory"  Box Assemblage
    This assemblage is created in a wooden cigar box. It includes both found and created objects.

    Artist Statement

    An assemblage is created by accretion/layering which creates the opportunity for:
    • shadows and reflections
    • magic spaces
    • architecture
    • mechanical invention
    An assemblage can tell a story: I am telling a story. There are personal references and talismanic objects.
    Assemblage can include the delight of the found and the chosen.
    I can use objects literally, constructively, decoratively; as metaphors, symbols, aides-memoire.
    Paint, paper, marker, fabric, nature: assemblage is all accepting.

    Sunday, January 29, 2012

    [107] Scott Gordon - USA

    [107]  OM.2009.044 - Scott Gordon - USA - 2009 - collage on board

    [106] Tony Romano - USA

    OM.2011.110 - Tony Romano - USA - Found Object Frame - Assemblage - 10.5x8.5x3 inches
    acquired by Cecil Touchon

    [104 & 105] Marci Ness - USA

    OM.2012.005 - Marci Ness - USA - collage - 6x4 inches

    OM.2012.006 - Marci Ness - USA - collage - 6x4 inches
    title: It's Still a Dry Heat

    [102 &103] - Jane Peterson - USA

    OM.2012.003 - Jane Peterson - USA - collage - 4x6 inches

    OM.2012.004 - Jane Peterson - USA - collage - 4x6 inches

    [100 &101] - Judy Schumann - USA

    OM.2012.002 - Judy Schumann - USA - collage - 4x6 inches

    OM.2012.001 - Judy Schumann - USA - collage - 4x6 inches

    [099] - Gail D. Whitter - Canada

    OM.2012.017 -  Gail D. Whitter -  Canada - collage - 4x6 inches

    [097 & 098] - Annette Geistfeld - USA

     OM.2012.015 Annette Geistfeld - USA - 'Primavera' - postcard sized collage - 6x4 inches

     OM.2012.016 Annette Geistfeld - USA - 'Haiku' - postcard sized collage - 6x4 inches

    Collage allows total freedom of expression without boundaries or limits.  What bliss!

    [095 & 096] Margaret Suchland - USA

     OM.2012.010 - Margaret Suchland - USA - Postcard Collage - 4x6 inches

    OM.2012.011 - Margaret Suchland - USA - Postcard Collage - 4x6 inches

    I'm attracted to collage because it is truly a universal language.  Collage making is something I can do anywhere and doesn't require costly materials.  Creating a collage can be as simple as tearing up old magazines and pasting together images to say something new. This process allows me to create new realities.  It's magical and it is the randomness, playfulness and the unexpected results found in joining unrelated items that excite me.  Collage goes against predictability. I enjoy the spontaneity and the feeling of complete freedom that it allows me.

    [094] Margaret Suchland - USA

    OM.2011.207 - Margaret Suchland - USA - Lexicon 2011 - 4x6 (framed 11x14)
    materials used: vintage early 20th c. dictionary pages digitally printed with
    early alphabet characters, misc. remnants from a discarded 18th c. Psalter and
    other ephemera

    [093] - Scott Gordon - USA

    OM.2008.003 - Scott Gordon - USA - 2007 - collage on panel

    [092] Eva Eun-Sil Han - Belgium

     OM.2008.018 - Eva Eun-Sil Han - Belgium - Touche - 2007 - collage on paper - 9x12 inches

    This is a antique book illustration with collage elements. The work takes on a surrealistic dynamic from the artist cleverly turning the illustration upside down and using the plume of smoke as if a billowing sleeve for the female hand element thus deemphisizng the gravity of the landscape and increasing the spiritual aspect by the hand materializing out of the smoke gently touching the opening of a rose. Perhaps a comment on a female twist of Michaelangelo's famous scene of God touching the hand of Adam, infusing him with life. The rose in this case representing Eve perhaps.

    About the Artist

    Eva Eun-Sil Han was born in Korea where she lived for 27 years.  She was first introduced to collage in primary school. As a child she loved to play with papers, like “drawing paper, paper dolls, cutting them out, making their outfits.” She studied for two years at the Design Institute of Graphic Art in Seoul, Korea and one year at the L’Atelier d’Art de la Grange des Champs, Belgium.
    Only [recently], when Eva Eun-Sil Han encountered the collages of Max Ernst did she start to use collage as a means of artistic expression. In her work she combines material from any kind of ready-made mass media, such as newspapers, magazines or old books. Eva Han prefers to use knife and glue rather than working with pixels on a computer screen, because it allows her to touch, feel and smell the different source papers. Especially old paper smells good to her.
    To Eva Han, the appeal of collage lies in the fact that you can combine “idiosyncratic elements in one single space. And also use juxtaposition of ready-made images transposed into artistic compositions without cohesive syntax.”
    Collage gives her unlimited room for imagination: “I don’t need any preparations – all I need is my Exacto knife, scissors, glue and papers and my subconscious mind. With the collage the unexpected happens.”

    [091] Gary Bibb - USA

    OM.2012.124 - Gary A. Bibb - 2012 - "Nota Bene - 562" - collage w/ mixed media
         4.5" x 3.625"


    [090] Gary Bibb - USA

      OM.2012.023 - Gary Bibb - 2012 -  "Black Twine #14" -  found object construction (or assemblage) -  4.25" x 3.25" x 1" 


    [089] Rob Angus - Australia

    OM.2012.122 - Rob Angus - Australia - Triptych of Smiles - 2011 -  Collage construction - H 7” x W 13 ¼” x D 1 ½” - Materials: Paper covered, recycled picture frame with applied beads, photos, batik and
    other found objects.


    I use collage to collect and preserve personal memorabilia, images, and
    found objects that reflect my life and views. I hope my constructions share my experiences and
    perceptions with the public, and pay homage to the artists of imagination who inspire me.

    Saturday, January 28, 2012

    [088] - Nikki Soppelsa - USA

    Om.2012.021 - Nikki Soppelsa - USA - 'I Made This!' - collage - 7.25 x 13.75 inches
    Antique/cabinet photo, prepared/found papers, ephemera, beeswax ... on bookboard.

    Artist's Statement:

    In the late 1960s, I made a few collages and can't remember what inspired me to begin. However, I do remember tearing up magazines, crumpling the images, soaking them in tea and scattering them over heated floors to dry. I still have them...they are my foundation. I returned to collage in 2009 and since, am always in the process of doing.

    Working with ongoing series which sometimes include my photography, I enjoy combining the art along with often a subtle humor, my own love and collection of ephemera, early photographs, and am intrigued by what can come from the scraps created from my other collages. All of this, its components spanning 100 years, comes together in this piece, 'I Made This!' ... inspired by the centennial.

    Nikki Soppelsa

    [087] - Matthew Rose - France

     OM.2012.020  - Matthew Rose - France - Queen Rose Score - collage
    OM.2012.020 Back - Matthew Rose - France - Queen Rose Score 

    Medium: Collage on paper, 2012.
    Size: 9 x 12 inches.

    Friday, January 27, 2012

    [086] David Dellafiora - Australia

    OM.2012.019 - David Dellafiora - Australia - "Tip Top - As Seen on TV" - matchbox collage

    Artist Statement

    I view collage as a form of magick. To quote Comte de LautrĂ©amont, “Chance meeting on a dissecting table of a sewing machine and an umbrella”. Many of the my collages use juxtaposition to create effect, image and text, sign and signifier. Objects are brought together with the process of making of these strange marriages left visible. My collages are not seamless , rather they create their alchemy from the raw materials of the world.

    [084 & 085] Liz Yates - United Kingdom

    OM.2012.018 - Liz Yates - United Kingdom - Collage with prepared papers - 8x10 inches

    Artist Statement

    My work is about expressing how something makes me ‘feel’ rather than solely
    the way it ‘looks’. I am also interested in the way the subconscious mind interprets
    images. The fragments I find from everyday life, both man-made and from nature
    become a starting point in my work, providing inspiration or forming an integral part
    within the work. I believe that by using real life fragments combined with my own
    creativity, the work conveys layers of meaning which blur the boundaries between art
    and life.

    I have always been a collector of interesting objects and it seemed a natural
    progression that found objects would become part of my work. The creation of
    Collage and Assemblage provides an endless opportunity for the re-combination and
    layering of materials, inviting new interpretations.

    My magpie hoard is full of old books, papers, tickets, feathers, driftwood, textiles,
    stones, glass, rusty metal pieces, old sheet music and more. The signs of wear and tear
    and the passing of time produce marks which sometimes tell the story of their history.
    I ponder the life cycle of these items, looking back to where they may have begun
    their journey, how a seed became a tree that grew and was once part of a forest. After
    the passage of many seasons, the tree was felled, processed and ultimately became
    paper. Some of the paper was used to produce travel tickets, which touched the lives
    of people so far away from its origins. I may find that ticket, discarded, blowing
    around on a windy street until it lands at my feet and becomes part of my ‘store’ of
    papers, eventually becoming incorporated into a new piece of work. I try to use as
    many recycled materials as I can in my work. It feels like a kind of ‘alchemy’.

    My work, for the last few years has been mainly collage and creating small
    assemblages. The materials I gather provide inspiration but I also look to ancient
    history and the natural world. I am drawn to the past, mysteries, and to the unseen
    aspects of our lives, in the world in which we live. I am fascinated by myths and
    legends, alchemy and magic. Some of my work explores life, beauty, light and dreams
    whilst others have explored the darker aspects of our nature in the imagination and
    nightmares. More recent concerns developing in my work have been around the
    natural environment and ecological issues. Many new works reflect my feelings about
    the natural world and our place in it.

    Additional work in the Collection by Liz Yates

      OM.2009.012 Liz Yates - United Kingdom - Possession - 3x3 inches - assemblage - 2008

    Thursday, January 26, 2012

    [083] Katrien De Blauwer - Belgium

     four collages in a single frame from "Poetic Noise"

     "Poetic Noise" OM.2011.213-A

     "Poetic Noise" OM.2011.213-B

     "Poetic Noise" OM.2011.213-C

     "Poetic Noise" OM.2011.213-D

    OM.2011.213 - Katrien De Blauwer - Belgium
    Four collages each postcard sized work is roughly 4x6 inches
    Poetic Noise (2009-2011) Documents, photographs, leaves and other relics from the Republic of Georgia

    Born in 1969 in Ronse, Belgium
    Lives and works in Antwerp, Belgium


    Where must we hide when it comes from inside - J. Taylor

    For as long as I can recall, I collect objects that draw my attention and
    touch me deeply in an ultimate personal way. At first they appeared
    as a random collection of endearing objects, drawings and little
    paintings that later became a kind of visual diary to me. After a while,
    I also began to tell corresponding stories bringing these objects even
    more gently together. Thus doodling, I found - often unwillingly - new
    meanings and associations within the emerging combinations of
    objects, colors and words.
    Later on I also began to realize, that certain painful experiences
    somehow colored my life, thus emerged and appeared, unconsciously.
    Perhaps that is also why each time I put something in my diary,
    a thought, a fantasy, fragments of a dream, about a country, in a
    sustained but gentle effort to taste, understand, and perhaps even
    love that country with its specific culture, I feel as having emerged as
    one with more gathered insight and new sense of meanings in the
    shortfalls of that particular culture and so as I believe my own alleged
    and assumed shortfalls.