OM.2011.181 - USA
Artist: Janice Anderson
Title of Collage: Shadows of the Southwest
Size: 15 1/2 x 13 1/2 inches framed
Materials: Book Covers, Game Pieces
Year: 2011
Sunday, March 4, 2012
235 - Paul Russo - USA
OM.2011.179 - Paul Russo - USA - 'Neoteric' - collage on panel - 24x24 inches
234 - Carol Perroni - USA
OM.2011.178 - Carol Perroni - 'Baroque Flowers' - mixed media on paper - 4x6 inches - USA
233 - Matt Taggart, USA
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| OM.2011.177 - Matt Taggart - collage on paper - 10x7 inches USA title: Karaoke |
Being a musician/noise artist also, collage embodies the same ideas and directions I take sound. Exploring combinations of materials and images to create new ideas. Collage to me is improvisation, immediatism and pure.
232 - Ken Stalebread Coleman - France
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| OM.2011.166 - Ken Stalebread Coleman - France |
Description
Untitled work #97
Actual size = 8 X 6.25 inches
Dated Dec. 2011
Various papers with watercolor, ink and colored pencil on Bristol board
Initials KMC in circle on back
Statement
I don’t have much of an artist’s statement. Mostly I construct, or try to construct pictures. I react to, and interact with, various materials, colors, images, textures, marks. Everything I see, smell, taste and touch informs everything that comes after. Inspiration is trumped by work over time and lots of trial-and-error. I try to make the pictures interesting or entertaining (“entertaining” is that artistic blasphemy?) for myself and maybe for a few others. Occasionally I succeed, often I fail. I keep at it.
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
[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.
223 - Chris Rusak - USA
OM.2012.087 - Chris Rusak - USA - collage on panel
Statement:
"Collage is visual composition with elements liberated of their normal use. Collage is a way to apply media onto a surface to reflect or absorb light. Collage is painting. All the elements of painting exist within the practice of collage: line, color, translucency, stroke, the illusion of dimension. It is anti-painting, neo-painting. It is drawing and sculpture. It is an accumulation and obliteration of all other practices of art.
I began my work in collage after struggling for years to understand my way around traditional brush and palette painting. I gave up the brush and used found objects to apply the paint, but still never felt a satisfaction for or reconciliation with my compositional vision. When, out of frustration, I began to rip up papers and arrange them on a table, I realized that the surface inks were the pigment I wanted to work with, and the gestural tear of my hand or a pull of a knife were the brushstroke. The creation from destruction, a natural force of renewal, helped destroy the barriers I had encountered."
222 - Lou Anne Hazel - USA
OM.2012.086 - Lou Anne Hazel - Altered Egos Transformation - mixed media collage -
Artist Statement-Lou Anne Hazel
I began making collages as a child. Using objects to create an image excited me because I wasn’t limited to a single medium. Though my hands would appear blackened and bruised with the powders of chalk pastels, I could scrub them until they looked new again, and fashion a fanciful muse with cobalt blue ribbon, shiny buttons, and glitter. In early adulthood I became a skilled black and white photographer. By combining my photographs with other objects I created mixed media collages and three-dimensional assemblages. With the appearance of digital image technology, I can now embrace any medium that speaks to me.
My current work combines photography, assorted printed materials, digital manipulation of images, tactile media such as acrylic paints, and found objects in an atmosphere that allows me to investigate whatever piques my interest. While my work tends to be somewhat narrative, I believe that it echoes common experiences of many others from my cultural background. As a mixed media collage artist I often step back into the shoes of my childhood, finding ways to combine bits of memorabilia into personal vignettes that I can share with others.
221 - Karon L. Johnson - USA
OM.2012.085 - Karon L. Johnson - Calliope - collage on canvas -16"x16"
ARTISTS STATEMENT
I paint with paper. It becomes music which interweaves melodies to unite the whole.
The influences of Picasso, Matisse, Gris, Miro, Mondrian, Schwitters, The Japanese,
Anne Ryan inform the work. Architecture, antiquity, everyday experiences add to the
creative visualization of each piece. Always aspiring to the sacred in art.
220 - Seek Kali Collective
Artist Statement -
Seeking Kali has been interested in exploring collage making because it allows for 3D expression vs 'flat' media and as a 3D art work it invites the viewer IN to experience the piece.
What intrigues us is that it has an assembling aspect both as (obvious) technique and as statement, i.e. bringing together pieces to make a whole that is more than the sum of its parts.
This way, constructing an art piece by way of collage can be seen as a metaphor for expressing an idea by way of connecting/weaving/bringing together separate thought fragments. In a meta way it can be seen to stand for a society's challenge to connect heterogeneous forces therein.
What intrigues us is that it has an assembling aspect both as (obvious) technique and as statement, i.e. bringing together pieces to make a whole that is more than the sum of its parts.
This way, constructing an art piece by way of collage can be seen as a metaphor for expressing an idea by way of connecting/weaving/bringing together separate thought fragments. In a meta way it can be seen to stand for a society's challenge to connect heterogeneous forces therein.
The title, "Insidiae" with is Latin for conspiracy is a a play on words in relation to the method of art making we do as the Seeking Kali Collective. Our pieces are worked out as a group as a direct refutation of the idea of the artist as an isolated cultural worker.
Seeking Kali is William Evertson (USA), Susan Shulman (Canada) and Ria Vanden Eynde (Belgium)
217-219 - John Andrew Dixon - USA
OM.2012.081 - John Andrew Dixon - USA - Grateful Ode to Merz
Collage on Bristol
Collage on Bristol
OM.2012.082 - John Andrew Dixon - USA - Gold Star for the Plow Man - Collage on Bristol
OM.2012.083 - John Andrew Dixon - USA - Plate Touchonics
Collage on Canvas
Collage on Canvas
John Andrew Dixon — a statement from the artist
After a full century, people may continue to debate whether collage as a technique was “invented” by George Braque or Pablo Picasso, but in my considered view, the seminal genius of the medium was Kurt Schwitters, perhaps the first modern artist to fully master the process. I hold the opinion that relatively few aesthetic traditions emerged from early-20th-century collage experiments without the inherent sensibilities of DADA, and I find it endlessly fascinating to probe toward the heart of creative spontaneity while unraveling the ever-present contrasts of beauty versus non-beauty, optimism versus pessimism, and art versus anti-art. In addition to being intrigued by such mindful intuition, I remain awestruck by the capacity to create extrinsic value from everyday material that has virtually no intrinsic worth. By aesthetic sensitivity and creative ingenuity, anything that has been discarded can be infused with meaning or be brought into a contributory connection with our daily awareness. Thus, the core relationship between found material and the art of collage transmits a unifying principle. When the remnants of ordinary living are physically re-purposed to inevitably resolve their unique compositional harmony, the underlying link between visual form and symbolic communication is revealed. When the literal characteristics of the ingredient elements are successfully transcended, a culminating artifact offers the potential for a shared experience with each participating observer. I am convinced that the resulting totality of emotional impressions and layered associations derive more from a deeper artistic intent than from conscious decision making. As in most improvisational activity, there is ample opportunity for mystery, surprise, discovery, and joy.
John Andrew Dixon — biographical summary
With a 40-year foundation as a designer and illustrator, John Andrew Dixon brings a new creative focus to his work as a collage artist, wood engraver, and watercolorist. His Kentucky studio is in the heart of historic downtown Danville.
With a 40-year foundation as a designer and illustrator, John Andrew Dixon brings a new creative focus to his work as a collage artist, wood engraver, and watercolorist. His Kentucky studio is in the heart of historic downtown Danville.
216 - Frederick Epistola -Philippines
OM.2012.080 - Frederick Epistola -Philippines - Visual Existence through a Random Consciousness.
Mixed Media Collage - 8.5”x11”
Artist Statement:
Collage is a product of one’s vision, emotion, thoughts and juxtaposition of found objects, color and texture, all of which can emphasize the common theme of man’s social relationships, of his culture, and history. It involves the technique of assembling and combining found objects from different contexts and randomly placing them on a plane to create an imagery reflective of both spontaneity and consciousness.
Saturday, March 3, 2012
215 - Joel Lambeth - Australia
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OM.2011.180 - Joel Lambeth - Australia - “The Everlasting Gobstopper” - collage on panel - 12x12 inches
Artist Statement:
I see making collage works, or more specifically photomontage pieces, as a tool for making some kind of sense of the world around me. Artist Statement:
Regardless of the subject or situation that presents itself, whether it be political, social or personal in nature, it has become impossible to have all of the relevant information in order to see the issue from all perspectives. Perhaps it has always been impossible to achieve this. However, in the modern time, with all of the multiplicity of sources of information that are available, the ability to access all of the facts has become contradictorily increasingly difficult.
Collage allows me space to take fragments, each loaded with meanings and associations, and arrange them into a form that presents (to me, at least) some kind of logical order or rationalisation, and permits reflection on subjects from a multitude of often disparate standpoints.
This can be a meditative process. In a way, the elements that are being used in the collage take on the form of a mandala, and my ambition in making these works are to attain a balance of form and (perceived) meaning.
Friday, March 2, 2012
214 - Janice Mcdonald - USA
OM.2012.079- Janice Mcdonald - Mischief - collage
Artist Statement
These days my collages are abstract -- created with fragments of paper and recycled imagery collected from my daily life and wanderings. I'm especially intrigued with the often-overlooked backgrounds and negative spaces in everyday printed materials.
The softness of ripped elements lends a painterly feeling -- any straight lines are a function of the image I've selected or a paper's edge. Compositions are not planned in advance but grow/change/evolve over time.
Collage-making has become a very contemplative practice for me. The process of deconstructing images and then re-integrating many pieces, to create something completely new, is an intuitive and ongoing visual experiment.
I love the elegance and freedom of the collage medium and am continually inspired and fascinated by the variety of work that is being produced. Happy hundred years of collage!
211 + 212 - Robert McGraw - USA
Materials: Acrylic paint, sandpaper, plastic discs, sheet plastic, “Contact” paper, and metal, on Bristol paper.
Artist Statement
Collage gives me the freedom to follow where Imagination leads.
Hardware, bits of sandpaper, old floppy discs, semi-precious gemstones: If such disparate materials produce the result I want, I am free to use them (...and I have). Collage doesn't constrain my imagination.
I invite viewers to join with me in the creative process by using their imagination to complete the "backstory" of my works.
[The viewer's imagination would have more latitude if I used serial numbers rather than titles, but many viewers think works without titles are unsettling. Therefore I give titles, but they are often cryptic or sketchy.]
I find joy and satisfaction in using my imagination. I hope your imagination finds joy in creating its own interpretations.
210 - - Silvia Bocca - Buenos Aires, Argentina
OM.2012.075 - Silvia Bocca - Buenos Aires, Argentina -Blue eye shadow (2012), 6x8x7 cm. Description: Assemblage in a used eye shadow box, acetate film, carved design on transparent plastic, found objects and oil colours.
209 - Suzé Gilbert - USA
OM.2012.073 - Suzé Gilbert - USA - Earthbound - 4" x 6" - collage with magazine papers
OM.2012.074 - Suzé Gilbert - USA - Global Shortage - 4" x 6" - collage with magazine papers
Artist Statement:
When I was young I watched my Polish great-grandmother gather scraps of old worn-out clothing and by sewing those pieces together, create a utilitarian quilt. Inspired by her patience in cutting and stitching, collage brings together those disparate elements of cast- off fragments of life, whether it be magazines, clothing, letters, or books.
The process of creating a new dialogue by incorporating pieces of paper into a cohesive whole is a meditative process for me, and one that continues to engage me as printed matter declines in our technological present life.208 - Goran Petmil - USA
OM.2012.072 - Goran Petmil - Green+Red collage 181/2 by 14, 2011
I am using different kinds of painted paper to create my work. This piece has one part from a magazine like photography but it is hard to see. I prefer hand work and work with paint. Some the areas look like print which gave new dimension and opened a new horizontal way to make the collage more exciting.
I am using different kinds of painted paper to create my work. This piece has one part from a magazine like photography but it is hard to see. I prefer hand work and work with paint. Some the areas look like print which gave new dimension and opened a new horizontal way to make the collage more exciting.
website: www.goranpetmil.com
Ever since I came out to Long Island I started collecting found objects: small pieces of drift wood usually found on Southampton beaches and rusty metal objects from rail roads. I transform these pieces into small assemblages. Later I enjoy cutting all different woods and make medium size wooden constructions. These last couple of years collages have become very important in my work.
My process starts with painting using different paint, using larger brushes fast strucks on all kinds of white paper, second stage is cutting interesting pieces and my process of creating abstract or realistic collages is coming to most exciting moment when the creative process and assemblage becoming very important for creation of art. This process of making art for me is one step higher and more creative than usually painting or drawing, I like mixing cutting magazines with collages.
My process starts with painting using different paint, using larger brushes fast strucks on all kinds of white paper, second stage is cutting interesting pieces and my process of creating abstract or realistic collages is coming to most exciting moment when the creative process and assemblage becoming very important for creation of art. This process of making art for me is one step higher and more creative than usually painting or drawing, I like mixing cutting magazines with collages.
207- June Levinson - USA
OM.2012.071 - June Levinson - USA - Box Assemblage
The juror, Dina Deitsch, is a curator at the De Cordova Museum. She selects
and exhibits new edgy art for enjoyment and education of museum goers.
Her choices are often experimental and unique which immediately unnerved
me. But I love a challenge and here was one. Even the wrappings had to be
included for the sake of authentication.
There were numerous ways to approach the box: paint on it, collage the inside
or perhaps make it the art object. How bizarre. It looked utilitarian and plain -
a common box from the post office. But that was the point. Transform it. We all
had to use the exact same size, which was my first obstacle. My Waltham Post
Office plus ones in Newton and Wellesley displayed every size but that one. I
was forced to order from them and learned nine was the minimum number
I could order, but wouldn’t be charged which was the only good part. After I
finished the project, I returned the eight unused ones to my local post office and
they were delighted to receive the extras.
Then the real hard part came…what can I do with it? Somehow, after mulling
over what I believed to be the essence, a single thought meandered through
my mind. There’s only one reason for the omnipresent box-the computer.
The phenomenon is worldwide, growing, relentless. Coming to that conclusion,
I drove to A.C Moore, the mammoth craft store, to purchase stickers from
many countries. Unfortunately, I found that international stickers were not hot
items and I had to settle for the U.S., England and France, which had one good
thing in common-they were all red, white and blue. At least they wouldn’t clash,
but I did so want China or Japan. And another problem surfaced and could not
be ignored. The stickers should cover the four inside flaps but my supply ended
at three. I did what any self respecting grandmother would do, I asked my
granddaughter what occurred to her when she thought of purchases through the
internet.
“That’s easy,” Rachel said, not missing a beat, “it’s transportation”.
“Oh,” I said realizing yet again her superior intelligence. “What a great idea and
I even have some in the house that your sister used.” And I muttered to myself
that somehow I remembered that they were mostly the same colors.
But now the hard part -the item to go into the box and over and under the red
and white bubble wrap.
“I’ve got it,” I thought. I pass a computer repair shop on my daily walk and know
that parts are often discarded and I saw some remnants in a box in the window. I
walked in hopeful some pieces might be available to me so I attempted
to speak to the shop owner and tried to explain the art project. Since his
English was none too fluent and my Chinese was nonexistent, we had a hard
time communicating about this esoteric concept. I pointed to the odds and ends
and he handed me three pieces that I might not have selected, but was totally
appreciative of my good luck, especially because one eight by nine inch piece
was red and more significant fit exactly.
The deadline was nearing. After all, I had lost time having the boxes shipped, but
my entry would arrive in time and I could finally stop obsessing over the box.
One week later I received an email that my work had been accepted. Even if it
hadn’t it would have been a provocative pursuit, but I preferred this conclusion.
The show was engrossing with no two pieces even close to being alike. I loved
being a participant and would do it all over again.
June Levinson September 2011
Ms. Levinson explains the origin of this work of art...
In and Out of the Box - Artist Statament
Has a box replaced a bag in your life? Do you find fewer bags to recycle
replaced by multiple boxes sent by mail mostly because of virtual purchases?
If so, join millions whose numbers increase daily. Amazon, for example, sells
everything and often at lower prices which preclude running to the stores to find
an elusive item. The change in this way of buying intrigued the Hera Gallery, a
small innovative gallery, in Wakefield, R.I. They called for artists, to compete in a
national juried exhibit. Each artist had to get a 9”x11”x 6” Priority Mail Box
from the U.S. Postal service to visually interpret the altered way that people
now buy goods. Also an artist statement was required to accompany the piece.
Has a box replaced a bag in your life? Do you find fewer bags to recycle
replaced by multiple boxes sent by mail mostly because of virtual purchases?
If so, join millions whose numbers increase daily. Amazon, for example, sells
everything and often at lower prices which preclude running to the stores to find
an elusive item. The change in this way of buying intrigued the Hera Gallery, a
small innovative gallery, in Wakefield, R.I. They called for artists, to compete in a
national juried exhibit. Each artist had to get a 9”x11”x 6” Priority Mail Box
from the U.S. Postal service to visually interpret the altered way that people
now buy goods. Also an artist statement was required to accompany the piece.
The juror, Dina Deitsch, is a curator at the De Cordova Museum. She selects
and exhibits new edgy art for enjoyment and education of museum goers.
Her choices are often experimental and unique which immediately unnerved
me. But I love a challenge and here was one. Even the wrappings had to be
included for the sake of authentication.
There were numerous ways to approach the box: paint on it, collage the inside
or perhaps make it the art object. How bizarre. It looked utilitarian and plain -
a common box from the post office. But that was the point. Transform it. We all
had to use the exact same size, which was my first obstacle. My Waltham Post
Office plus ones in Newton and Wellesley displayed every size but that one. I
was forced to order from them and learned nine was the minimum number
I could order, but wouldn’t be charged which was the only good part. After I
finished the project, I returned the eight unused ones to my local post office and
they were delighted to receive the extras.
Then the real hard part came…what can I do with it? Somehow, after mulling
over what I believed to be the essence, a single thought meandered through
my mind. There’s only one reason for the omnipresent box-the computer.
The phenomenon is worldwide, growing, relentless. Coming to that conclusion,
I drove to A.C Moore, the mammoth craft store, to purchase stickers from
many countries. Unfortunately, I found that international stickers were not hot
items and I had to settle for the U.S., England and France, which had one good
thing in common-they were all red, white and blue. At least they wouldn’t clash,
but I did so want China or Japan. And another problem surfaced and could not
be ignored. The stickers should cover the four inside flaps but my supply ended
at three. I did what any self respecting grandmother would do, I asked my
granddaughter what occurred to her when she thought of purchases through the
internet.
“That’s easy,” Rachel said, not missing a beat, “it’s transportation”.
“Oh,” I said realizing yet again her superior intelligence. “What a great idea and
I even have some in the house that your sister used.” And I muttered to myself
that somehow I remembered that they were mostly the same colors.
But now the hard part -the item to go into the box and over and under the red
and white bubble wrap.
“I’ve got it,” I thought. I pass a computer repair shop on my daily walk and know
that parts are often discarded and I saw some remnants in a box in the window. I
walked in hopeful some pieces might be available to me so I attempted
to speak to the shop owner and tried to explain the art project. Since his
English was none too fluent and my Chinese was nonexistent, we had a hard
time communicating about this esoteric concept. I pointed to the odds and ends
and he handed me three pieces that I might not have selected, but was totally
appreciative of my good luck, especially because one eight by nine inch piece
was red and more significant fit exactly.
The deadline was nearing. After all, I had lost time having the boxes shipped, but
my entry would arrive in time and I could finally stop obsessing over the box.
One week later I received an email that my work had been accepted. Even if it
hadn’t it would have been a provocative pursuit, but I preferred this conclusion.
The show was engrossing with no two pieces even close to being alike. I loved
being a participant and would do it all over again.
June Levinson September 2011
206 - Andrew Riley Clark - USA
Box assemblage, 3.7 x 6.9 x 2.5 cm (closed)
88arc88.blogspot.com
Statement:
I'm relatively new to assemblage per se, but for me it seems to be
coming from a number of existing projects, interests, and influences:
found objects, painting, collage, junk & detritus, urban decay,
mechanical/industrial aesthetics, toys & miniatures, model building,
sci fi & fantasy. I enjoy taking seemingly useless and discardable
pieces and making them into their own little worlds.
205 - Rosaire.Appel - USA
Collage is such a natural activity – putting things together, turning them around, seeing what happens – I think we do it spontaneously. Cooking is like that. This is visual cooking. Collage allows me swift escape from confines of my own known gestures and mind into unpredictable territory. I’ll also add that there is such a glut of used material here – in this country, in this city, in my file cabinets - that it seems imperative to take advantage of it. Used papers are perhaps my favorite surfaces to draw on – they know a bit about life already; clean starched sheets are formidable.
204 - Tamara Wyndham - USA
OM.2012.059 - Tamara Wyndham - USA - AOXOMOXOA - acrylic and collage on paper, 5 x 7 inches - The title, AOXOMOXOA, is a palindrome from the Grateful Dead album.
Statement:
Collage was brought into modern art by Georges Braque and Pablo Picasso, but had a longer history in folk art before them. It continues to be a vital part of contemporary practice, most especially in the new technologies of digital graphics.
Tamara Wyndham
Thursday, March 1, 2012
203 - Reed Altemus - USA
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| OM.2011.208 - Reed Altemus - USA - 'Recyclopedia V' from Encyclopedia Fluxanica - digital collage, 1/1 - giclee print - 11.75x12.75 framed |
 |
| OM.2011.209 - Reed Altemus - USA - paper collage - 8.75x11.25 framed |
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