OM.2012.170 - Sukarma Thareja - India - Indian Tiger - collage on a vinyl flag
Sukarma Thareja is teaching physical chemistry in Ch. Ch. Post Graduate College in India for the last twenty years. She has a deep interest in collage art making. She has guided many students in this creative art as she is in charge of collage, painting and rangoli activities of college.This collage is a gift by the artist to the museum for the humble cause being done by the organizer. The artist is grateful to the organizers for giving her the opportunity to explore her talent at this esteem platform. She has made many collages which can be used for teaching basic concepts in basic physical chemistry to popularize science among students. According to her, collage making has a healing effect on students and it makes the atmosphere of class very congenial and full of energy. This collage is her humble effort in which it is shown that in India lot of efforts are being made to save the tigers, but what is thought process which is going in the heart of the tiger is shown in terms of all man made activities; pictures surrounding Tiger. Many eyes made at the boundary of collage shows that each Indian eye wants to see that the tiger is saved------but the question is; will all effort made be successful? If not,what is to be done. The background colour of the collage is the same as that of the national flag that shows the high spirit of each Indian for this cause ----may these efforts be sustained for ever.
ART OF COLLAGE AND THE DAILY COLLAGE PROJECT In my collage work inspiration and materials come from found-papers that surround our daily lives and usually end up having an ephemeral existence from the most obvious to the most unusual and unsuspected such as posters, newspapers, packages, tickets, brochures, magazines, postcards, advertising, among many others. My process of plastic improvisation based creation requires a demand for selfdiscipline that led to the settlement of Daily Collage Project in 2006. This project aims to create a collage every day which turns out to be a personal dairy which also acts itself as a commentary on everyday life. The relationship word/image, the incorporation of typographic and commercial elements, the scale and juxtaposition of different textures and shapes, reflects many aspects of the historical background of this collage technique, such as the early 20th century artists (Picasso, Braque, Schwitters and Hannah Hoch, by example), or latest American artists like Joseph Cornell and Robert Motherweel, among others.
TECHNICAL PROCESS AND THE OPERATIVE ACT
The discovery and use of materials related to everyday life, from recycling or the daily practice of gleaning materials is reflected in the handling of a dual language discourse. On one hand, it reveals a conceptual sense on improvisational relations in colors, images, textures, forms, meanings, pictograms; on the other, it focus on mono and polysemy of language associations among titles, images and signs. Color is the one characteristic inherent to used materials. The decision to embrace this technical process is related to the fact that collage is a recurring feature in my artwork. Sometimes I use transfer techniques that allow the juxtaposition of images, or vintage images that give the work a new element of something remote, appealing to our collective memory, although collages emerge as practices of plastic improvisation whose ephemeral condition acquire new meanings as a result of the clashes, tensions, dialogues, balances from their spontaneous combination. Each work is a dynamic impulse of the act of tearing, select and re-render, and a material combination of different pieces ending in experimentation built from discovery. There is an idea of gaming, connected to the act of adjusting, juxtaposing, uniting, as a daily playful operation breaking the monotony of everyday life. Improvisation is the result of instant choices – choice made "by itself", cleared from what is around and of what’s happening. One practice of a combined exercise, which tears, destroys and rebuilds a work in progress taking place from the act of dealing with "what is around," like an instant of an event. In addition to operative act it is the intellectual doing and the visibility that matters. There is no narrative sense in each collage, but maybe one can be found in Daily Collage Project. It does not intend to tell a story, but there is a loose speech on daily life which inhabits time. Dilar Pereira Lisboa, September 18th, 2011
Artist Name: Ginny Graves/Tucson, AZ
Name of Work: Road Kill (A Commentary on Life in the Twos)
Medium: mixed (newspaper headlines, rubber stamp, handmade paper, tissue paper transfer)
Appropriations: Kate Breakey
Road Kill (A Commentary on Life in the Twos)
Collage has the immediate result of allowing the artist to experiment freely, to appreciate the joy of unlimited experimentation, and to experience the surprise of unanticipated outcomes. Following this is the possibility for application of the artist’s own inventions, skills and discipline, at any level. Making collage—a great application for artistic creation...and a lesson for living Life.
 OM.2012.159 - Kareem Rizk - Australia - Bright Red - 2008 - collage on canvas - 14x11 inches
 OM.2012.160 - Kareem Rizk - Australia - Suit #2 - 2008 - collage on canvas - 10x8 inches http://kareemrizk.com
Statement on Collage For me, collage is very much about collecting. The ritual of collecting is sometimes the most enjoyable part of the process. I think every collage artist is a collector - whether they collect tactile materials or whether they collect ideas and references in their mind. I feel that the act of collecting becomes a very necessary part of the process. I collect many kinds of paper, images, ephemera, magazines, books, textures, typography, patterns and all forms of design elements including lines, dots, shapes and ornamental/decorative graphics. Whenever I find an old press publication, an old image or an old discarded piece of coloured paper I am almost always thinking about how it could be used in a different context in my art. It’s an opportunity to make something new and intriguing which didn’t exist before and often from scraps and salvaged materials. The act of piecing together a collage for me has a lot to do with intuition and spontaneity, but it can also be very meditative. For many collagists who do not sketch or design a composition, the final result is entirely dependent on what moves are made during the construction of the artwork. I feel that allowing your intuition and allowing for a certain level of spontaneity to take its course is something that comes very naturally when it comes to working with a medium that is very changeable. I’ve been making collage and mixed media art for nearly 7 years. When I first began making art it was simply a creative outlet and a relief from my job in corporate design. I never imagined that one day I would be pursuing a career in a field that I was never officially trained to do. But for me it made perfectly good sense. I don’t believe that a person needs to be trained to be a good collage artist. In fact, there are many aspects of good collage making that I believe cannot be taught – but only experienced or felt. I believe it’s something that comes from within.
My collages express my thoughts on the ambiguity of my ethnicity and female body, and my opinions on the looming, sexual status of the female other.
In these works I am coming to terms with the white female sexuality and/or hierarchy [with the contradiction of my own white and non-white lineage as a backdrop], which is depicted in mainstream western media.
 OM.2012.154 - Melanie Gaskins - Awaken - 2012 - Medium: Acrylic, Charcoal, Oil, and Watercolor collage on 9 canvases
Collage offers artists a means to express themselves in multiple mediums. Some
artist’s use their artwork to make statements or send a message to those who
view their work.
Through collage I have been able to express my vision of a novel I hold dear to my
heart “Awaken – The Healing of Virtue”.
This is no ordinary book. It has elements of Action and Adventure, Science
Fiction, Fantasy, and Romance. The concept stems from my desire to empower
women, try to change the perception of how women are perceived and valued,
bring attention to a struggling city in rural Pennsylvania and its schools, hopefully
increase tourism, and allow me to give back to my community.
An unknown world has revealed itself to Cayenne Ashley, a beautiful twenty-
three year old graduate student. She is about to emerge into it. But, before she
opens her eyes to see its true wonder, she thinks to herself; “Who would believe
what I am about to witness?” More importantly, after seeing and understanding
this new world; “Who would follow me on this journey?”
 OM.2012.153 - Theophilus Brown - gift of Matt Gonzalez - collage and acrylic on paper
A descendant of early-American intellectuals, Brown was born in Moline, Illinois. His great-grandfather was friends with Ralph Waldo Emerson and Henry David Thoreau. Brown's father was an inventor and chief designer, at the John Deere Company in Moline, Illinois. While attending Yale University in the late-1930s, Brown met composer Paul Hindemith and poet May Sarton, with whom he would share lifetime friendships. After graduating in 1941, Brown was drafted in World War II. Following his discharge, he began to study painting, moving between New York City and Paris, meeting an impressive range of artists that included Pablo Picasso, Braque, Giacometti, Balthus, and de Kooning, among others. Brown, who studied piano at Yale, was also close to a number of composers, including John Cage, Poulenc, Samuel Barber, and Igor Stravinsky.
In 1952 Brown enrolled in the graduate studio program at the University of California, Berkeley, joining a group of artists—including Richard Diebenkorn, David Park, Elmer Bischoff, James Weeks, and Nathan Oliveira — that would later be known as the Bay Area Figurative Movement. While attending Berkeley, Brown also met and fell in love with his long-time partner and fellow-painter, Paul Wonner.
In the early 1960s, Brown and Wonner moved to Santa Monica, where they developed a close friendship with fellow gay couple, novelist Christopher Isherwood, and portrait artist Don Bachardy. Over the years, Brown and Wonner also fostered friendships with playwright William Inge, composer and conductor Andre Previn, actress Eva Marie Saint and her husband, director Jeffery Hayden, and New Zealand novelist Janet Frame.
In his later years, Brown still managed to paint daily. Theophilus Brown resided in San Francisco, California at the time of his death.
His papers are held at the Archives of American Art.
Four months before his death, Brown gave an interview in which he fact-checked his Wikipedia entry. He found the entry accurate, on the whole, but termed his classification as an abstract expressionist "horseshit." He died in San Francisco, aged 92.
OM.2012.142 - Maria De Lourdes Rabello Villares - Brazil
 OM.2012.142 - Maria De Lourdes Rabello Villares - Brazil - FRAGMENTS - Arquivo de Obra Fragmentos- hand made book
FRAGMENTS and Collage
This is my way: to collect fragments of the life, the Word, the poetry. I construct my history though the history of the minimum, the remaining portion, the small one, the object and the poetry. To tear, to cut, to reconstruct are my daily action: to preserve and to recycle are may objectives. My trajectory in the art has relation with books of artists, artistic appropriations of the public space, celebration of my city with the book “THE CITY AND THE MOUTAIN” beyond expositions of art in biennal halls and others.
My relation with the collage is also a form of thought based on the principle: “In the nature nothing is los, everything is changeded”. Thus my creative eye assimilates each thing, though the space and super positions including the space of virtual clouds. The mutation renew that we know. I use the collage, therefore, structurally, and, also of form to exercise the creativity, as study and as end item. From now on, I make painting collages of screens on screens. I want the unconventional space of picture and life.
Everything because I Know that my life will be forever a recycle collage of the other lives and thoughts of others, in the communion with the humanity.
Collage has always been of interest to me since I first saw Picasso’s works when I was in Art School. The simplicity of shapes, combined with simple line, got to the essence of a subject in a way realist painting can’t.
Since then, as I’ve progressed through various media in my own art journey, this notion has become more embedded in my way of thinking.
While it may be regarded as ‘contemporary’, collage is really not so modern. It has been around in some form since the invention of paper. Making it ‘modern’ though is the incorporation of contemporary materials such as plastic, or acrylics, and components of our high tech age.
To be able to add such personal things as the ephemera of daily life, tickets, old rusty stuff, bits of previous paintings, gives truth to the work and adds a real connection to the artist. In this way collage will continue to have its place in modern art.
 OM.2012.138 - Donna Merry - USA - collage - 8x10 inches - 2012
 OM.2012.139 - Donna Merry - USA - collage - 8x10 inches - 2012
I am an artist that has recently discovered the art medium of collage. A pad of various colored papers spoke the word ‘create’. So I sat down, selected papers and began to compose a landscape, because that is what the colors before me suggested. As I tore and moved strips of paper around, the vistas of the American Southwest appeared, and I was pleased. Many vacations, as a child, were spent in and around the desert regions and it was a delightful experience to remember the moonrise above the low mountains in Arizona and the sunrise above the Colorado River. I will do more collage, as it is a calming respite from an otherwise hectic day and I will be looking at every piece of paper that enters my house in an entirely new way! It is a new way to recall dreams, daydream, make sense (or nonsense) of the present and future.
Collage and assemblage have previously been terms that describe what other artists do with scraps and leftover bits. Now, having completed a few collage pieces, I truly appreciate the construction process and the thought behind it. And it isso nice to be able to edit and rearrange the piece as it evolves instead of trying to cope with and adjust the more rigid mediums I have worked with in the past
Description: small inkjet print of cutup prints in water with multiple textures, pieces of a human body that resemble inkjet paper.
Statement: In today’s world of advertising and insta culture, I think assemblage and collage become an everyday stream of the images I see throughout my day. I am readily influenced by all the cultural signs from E-advertising to logos on every street corner, which has been something I grew up. I don’t remember not using a computer. I think assemblage helps me reorder my life. I like cutting up images and placing them in water thinking about assembling a new image based on my thoughts about culture, the female figure, and the freedom and its association with the body and water. This is inspired by my faith, culture, and Midwestern upbringing. I think it is an assemblage of my life.