[431] OM.2012.265 - Bird Thomas - USA

Title: You Will Only Find Tomorrow on the Calenders of Fools
Bird Thomas - USA - assemblage - sent for Fluxhibition #6: Fluxus Till the End of Time

419 - Blue Haas - USA

OM.2012.239 - Blue Haas - USA - 'Uncle Skull' - Assemblage - 8x8 inches - composed of various recycled electronic devices

284 - Carolyn M. Quarnberg - USA

OM.2012.125 - Carolyn M. Quarnberg - USA

[284]  OM.2012.125 - Carolyn M. Quarnberg - School of Fish - 2010

282 - Marian Savill - United Kingdom

OM.2012.123 - Marian Savill - United Kingdom

[282]  om.2012.123 - Marian Savill - Revelation - 2009.jpg

http://www.mariansavill.com/

279 Merry Rozzelle USA

[279] om.2012.120 - Merry Rozzelle - 2012 - Finding Faith - "Finding Faith" - assemblage - 7.25" X 8.25", Plaster, wood, found doll, wasp nests - 2012

http://collagist.org/profile/MerryRozzelle

275 - Dorthe Grum-Schwensen - Denmark

om.2012.114

269 - Richard Misiano-Genovese - USA

 OM.2012.107 - Richard Misiano-Genovese - USA - Woman-Feathers

Fire Works

The first thing that comes to mind here is the moment I discovered fire; not in the sense of when as a child I
marveled at the bright flickering flames, or the heat radiating outwards but when playing with a bit of drawing and then touching the paper here and there with the lit match so that the paper would be blackened from the soot, or singed from the heat, and then openly burned. It was more in the discovery that the fascination and excitement that fire seems to hold over children fades with maturity.

I found that I was able to reach deep into my own psyche, and find the remnants of the fascination that playing
with fire held for me. Animals instinctively fear smoke and flames and will flee at the mere presence of fire, but humans are a strange lot. Fire appeals to our emotive levels if not our intellectual ones. My balancing act of burning my drawings, or rather burning with my drawings, was an attempt to explore unfamiliar territory, or at least less familiar than fading memories of my childhood fascination with fire, like most other children.

It is with these assemblages I played with fire.

The act of burning paper, allowing the heat and flames to consume the pulpy substance, with minimal control over the end results, is further excited by the anticipation of how this very automatic writing in smoke and flame will proceed to consume and literally re-compose an artwork as it decomposes it as well. When in the process of drawing some ideas that spill out from the subconscious regions of the mind, there is no real sense of anticipation as to what shall transpire next when flame is put to paper. The act of burning reduces too, the “preciousness” of the drawing by relegating it to the flames. The attachment of the offending matches becomes the protagonist in this drama play. Action art, the quest for truth and reason but in the end a destructive force which reduces itself to a state of grace upon further examination. It is in this mixture of proposing an idea in pencil or ink as an image, with a bit of facile attention to the materials, and then assailed by the natural force of chemistry, nature’s gifts manipulated by man into the most primal technology: fire.

Richard Misiano-Genovese

(2010)

268 - Lis Gundlach-Sell - Denmark

OM.2012.106 Lis Gundlach-Sell - “Fragile” 2012, Assemblage, h 26,3cm x w 20,5cm,
Cardboard,wire,tape,frame

Artist Statement:


Standing or hanging, tiny or enormous, two- or three dimensional, simple or complex, made out of all sorts
of paper or materials - gratis, cheap or expensive - rubbish, found objects, everyday objects - sometimes
in combination with drawing, painting, sculpture and/or photo…… crazy, amusing, beautiful, abstract,
extraordinary, subtle, cubistic, surrealistic, Dadaistic, Neo-Dadaistic, Fluxus, Pop-art, constructivist,
aesthetic, ironical, psychological, philosophic, daring, romantic, expressionist, classic, anarchist, humorous,
literary, baroque, theoretical, formalistic, lively, religious, conceptual, ugly, lyrical, poetic, prosaic, sad,
elegant, sublime, critical of society, concrete, charming, desperate, depressed, aristocratic, solemn, elegiac,
fancy, spiritual, serious, revolutionary, spherical, fantastic…...


I think what characterizes collage, assemblage and constructive art is this overwhelming variety and the
endless amount of possibilities, enough for everybody forever. The future will create new artists making
art in a way we cannot imagine today. It is impossible to know but I do believe that because of the
enormous qualities and possibilities collage, assemblage and constructive art will still be a form of art
making for future generations.

260 - Elizabeth Ostrander - USA

OM.2012.098 - Elizabeth Ostrander - Eastport Beach Composition #2
found material, acrylic, paper within a sardine can
Height 4 inches  x Width 3 ½ inches x Depth 1 inch
 elizabethostrander.com

ARTIST STATEMENT
Elizabeth Ostrander

Accumulation, serendipity, and the surprise of juxtaposition, to me, replicates life, elements that become messages artists use to create order in unified realities expressed thru the forms of collage, assemblage, and constructs…unfettered uniqueness and personal.

My on going series of little assemblages created inside sardine cans feels satisfying to me as well as integrated. I live on a island in Maine, way north in Passamaquoddy Bay looking across to Canada.  At one time its island shores were filled with sardine factories, in its heyday, its port even rivaled New York City. But fished-out long ago, today there is not one single fish factory left, now it is the art galleries turn to flourish…this another example of community being saved by Art…and so time marches on to different tunes. I walk the beaches and collect bits of nature, and parts of aged machinery, along with more contemporary trash. Back in the studio, I compose my island beach moments into the now imported sardine cans.  To me, they are like portraits of my island’s cycling history all enmeshed with mine and my assemblaged sardine-can art becomes a mash-up of moments and objects held in timeless composition.

256 - Ellen Alt - USA

OM.2012.094 - Ellen Alt - USA - wall assemblage - 16x24 inches

Statement:

Collage is my baseline, history and foundation.  It is where I spring off from and bounce back to.  It is all about the mixing: the endless combinations of papers, natural elements next to abstract ones and fine art with everyday objects.  I arrange materials like paint and then pour wax and epoxy resin.  My goal is forming cohesion though spontaneity and play.

www.ellenalt.com

224-230 - Risa Schneider - USA

[228-230]  OM.2012.088.a.b.c - Risa Schneider -  Blues Suite (I, II, and III), 2010 -- three 4 x 6 inch collages:

     acrylic hand-painted papers, magazine and newspaper elements, acrylic medium on  

     postcard/watercolor postcards.

[227]  OM.2012.092 - Risa Schneider - Gypsy -  A Collage Book -  2011 -- approx 7 x 8 by 1/2 inch altered book: acrylic hand-painted papers, magazine and newspaper elements, found papers, tea-bags

     peeled-paper image transfer, water-soluable crayon, sharpie marker, acrylic medium on children's board book

[226]   OM.2012.089 - Risa Schneider - Spheres of Light -  2009 -- 5 x 7 inch collage: acrylic hand- painted paper, magazine and newspaper elements, acrylic medium on cardstock

[225]  OM.2012.090 - Risa Schneider -Tinned Fish IV, 2011--3 x 4 x 1 inch assemblage:

     acrylic hand-painted papers, decorative papers, acrylic medium, fish tin  

[224]  OM.2012.091 - Risa Schneider - IBTW, 2012--1/2 x 2 x 4 inch (including hooks)-- acrylic hand-painted papers, magazine and newspaper elements, acrylic medium, "Smalls" Altoid tin, fish hooks, monofilament    fishing line, lead sinkers

Statement Risa Schneider

Collage and assemblage are interesting to me because they are art forms both practical and transformative, wherein something beautiful or engaging can be made even of something that might otherwise be considered useless or scrap. Much like quilting, collage can be a way of utilizing available materials and giving them a whole new life. This impulse to make something beautiful even if with humble materials, is, I think, quite an old impulse, even a timeless one. Yet collage and assemblage also seem particularly suited to contemporary concerns—be it in reflecting the faster pace, and sometimes fractured reality, of our daily lives since the early 20th century, or by speaking to our growing understanding of the importance of environmental concerns. I think, too, that they are contemporary also because they are democratic art forms--that can allow and enable artists who have might have less formal training to find and develop their artistic voice, at the same time that they have allowed formally trained and master artists to take their work in new and different directions these past one hundred years.

[179] Bob Rizzo - USA

OM.2008.019 - Bob Rizzo - USA - Ducksonge - assemblage

http://www.bob-rizzo.com

 

Director's note: A few years ago I sent Bob Rizzo a box of small found objects to induce him to make a work for the museum. A few months later, Ducksonge is what he sent. A wonderful fetish assemblage sculpture with a wooden duck head on the wooden body of what might be an african sculpture with collage material on it. I am not sure I can identify all of the items attached to this work but they include, various types of old nails, a mojo bag with who knows what in it, leather, feathers, chain, wooden bead necklace, a horn of something, a large tooth of something that I wouldn't want mad at me. rivets, glass vile, bells, a padlock, bits of cloth, another horn, smashed bottle caps,shells, bones, small wooden finials, a milagro of a burro, ribbon, a shoe string, a dream catcher, a quill and who knows what else on a wooden base. The whole thing was then carefully patinaed with a special secret mixture containing rust to give the work a visual integrity. One has the feeling that the work is a fetish of a protector that stands with a watchful eye ready to defend against injustice.

[178] - Ivan Mavrovic - Croatia

OM.2011.072 - KGB Steampunk Mouse by Ivan Mavrovic (Croatia)

At present the only Croatian designer creating steampunk artworks

gift of the artist

Steampunk is a sub-genre of science fiction, alternate history, and speculative fiction that came into prominence during the 1980s and early 1990s.[1] Specifically, steampunk involves an era or world where steam power is still widely used—usually the 19th century and often Victorian era Britain—that incorporates prominent elements of either science fiction or fantasy. Works of steampunk often feature anachronistic technology or futuristic innovations as Victorians may have envisioned them; in other words, based on a Victorian perspective on fashion, culture, architectural style, art, etc. This technology may include such fictional machines as those found in the works of H. G. Wells and Jules Verne or real technologies like the computer but developed earlier in an alternate history. SEE MORE

[171] Mark Tobin Moore - USA

OM.2012.067 - Mark Tobin Moore - USA - Keep Up Your Guard - 24 1/4 x 8 x 2 1/4 inches - 2006 - mixed media assemblage with acrylic paint, wood glue, found objects, and magazine photographs on a recycled piece of wood from a demolished house. Framed with salvaged interior trim molding.

http://www.marktobinmoore.com/

My collage or assemblage making process usually begins as a response
to found images or materials I happen to come across, or items I have
saved, sometimes for decades. Intuition and maturity are also factors in my
process. Since I depend so much on symbolism for the content in my work,
sometimes it takes years for me to see the expressive potential of something
I threw into a box or filed away in my image morgue.

In this case, though, with Keep Up Your Guard, the materials came
immediately during a visit to the local Habitat for Humanity ReStore.
I had one of those lucky days where the piece seemed to come together as
I picked through one hardware bin after another. I have to say this is a fun
process, and one I always enjoy. I had some old magazines laying around
on my work tables, and as I looked through them for just the right images to
include a couple emerged that after some editing worked perfectly.

I enjoyed making this piece especially since the wood and nails came from
an old demolished house in the city. Also, this process was really positive
for me because I was not only able to express in a really healthy way some
personal concerns I was having at that time, but I was able also to preserve a
part of history that might otherwise have been burned or buried in a landfill.

[170] Joel Schapira - USA

[170] OM.2012.068 Joel Schapira - USA - Rattling the Cage. - Assemblage - 19"w x 12"h x 6"d - materials include: cardboard, metal seam binding, retired library card catalog cards, ribbon, string, wooden propeller, rubber stampings, boy scout manual pages, fallout shelter instructions, and beeswax.

[148] Anthony Cricchio - USA

OM.2012.056 Anthony Cricchio - USA - "Warped Location"  2012 - 9" x 12" Basswood with Found Objects

Statement:

Collage is an art medium that inherently links the past to the present, always being an invention from one art form transforming itself from time and place. When Picasso began sticking together found objects to his paintings in the early part of the last century, who knew the literal cutting and pasting would evolve into the virtual world of photoshop magic.   Through the years collage has been used to explore architecture. From Le Corbusier and the constructivists to Bernhard Hoesli and Colin Rowe, collage has been used as a tool to explore and teach ideas of transparency and three dimensional space. Although collage has transformed into other subsets of assemblage, bricolage, and montage, the medium always retained its heart of being a starting point to an unknown end, a beginning.

Anthony Cricchio, RA

Assistant Professor of Architecture

University of Oklahoma College of Architecture

[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.

[106] Tony Romano - USA

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

http://www.flickr.com/photos/tonyromano/sets/72157594472580766/

acquired by Cecil Touchon

[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" 

garyabibb-art.blogspot.com

    

[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.

ARTIST STATEMENT

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.