November 8, 2013
We haven’t got enough PAPER
I teach a collage class at the Pelham Art Center in Pelham, NY. We have a new collage project each week. Almost every project has paper as the primary media.
We are half way through the fall term and have run out of magazine papers – our primary source for collage. I supplied the magazines at the beginning of the class term, and the students have depleted the supply. We need more magazines.
I would like the students (or a donor) to replenish the supply. I don’t want junk magazines. Cheap paper is a waste of time. It’s very hard to create collage with cheap paper. It curls when you apply glue. It’s hard to cut and tear. It doesn’t hold up over time. It looks cheap.
I want students to work with quality magazines papers that are printed with rich color, offer strong graphic design, and use creative text. Replacing the ArtForum magazines would cost me much more than I want to spend. I would like every student to donate or find a donor neighbor. So many people toss away magazines or put good magazines into recycling bins. Collage artists recycle. We need good magazines.
Magazines I like include art, photography, internet, home decor, fashion, garden design, nature and more. The paper quality is important. ArtForum, ArtNews and Art in America have good paper. I like Vogue, Elle, Elle Design, W and Interview magazine. National Geographic is excellent for paper quality, color, nature and animal images.
I will ask my friends and neighbors for donations. I would like my students to do the same.
I’m a snob for good paper. In my own collages, in addition to magazine papers, drawings, and my painted papers, I use artist hand-made imported printmaking papers because I love the range and contrast of whites. A lot of my white papers go in as the background layer in a collage.
Good Paper is Expensive. Good paper makes a Good Collage.
Another Way: Create Our Own Papers for Collage
In recent class projects we created large collage papers with multiple small magazine papers. See the first image – a grid collage above. It’s a substrate for a figure collage. In another class, we created a crazy quilt collage with overlapping patterned papers. See my sample image below in red, black and white. I will add another layer.
In a third class, we created a background collage for a landscape. We used pieced papers from a lot of different magazines.
I asked the students to keep the originals and reproduce multiple copies in black and white and color. The copies become the resource media for additional collages: as collage paper and as a paper substrate (bottom layer). Papers can be reproduced from the original as needed. If the original collage is copied digitally, it can be reproduced in a copy shop in very large format. You can play with the image and color in PhotoShop.
I like to include drawing with collage. See the 3rd image above that I made on artist paper and stamped all over with a bird pattern. I cut and paste small sections whenever I want line drawing in the collage.
I included two images that are computer scans of a rug (advertisement) from a design magazine. I like the diamond pattern and needed one to be positive (black on white) and one to be inverse (white on black).
4 Goals for the Class
Create projects that create (generate) papers. Create projects that repurpose and embellish papers. Discuss how to sort and organize collage media. Discuss why it’s important to collect, create, reproduce and build inventory for collage – because it saves time and money, it makes your media personal (you can pick the colors you like), and it’s much better to have all your papers available when you are ready to work .
Please add your comments and suggestions on how to hunt and gather materials for art projects. Thank you for sharing.
September 28, 2013
In my last post, I wrote about the opening reception and an upcoming event (annual benefit) Signed Sealed and Delivered (Saturday, October 5, 2013) – all at the Silvermine Arts Center in New Canaan, CT.
The current galleries have 2 solo shows and 2 group shows (September 15-October 26, 2013) with a lot of installation art. It’s so contemporary. The works are exquisitely presented – so typical for Silvermine gallery exhibitions. My last post included images at the gallery receptions.
Silvermine Arts Center is located at 1037 Silvermine Road, New Canaan, CT. The exhibits run from September 15, 2013 through October 26, 2013. Gallery hours: Wednesday-Saturday: 12pm-5pm, Sunday: 1pm-5pm. For more information about exhibitions, call 203.966.9700 or visit the Silvermine Art Center website.
I think installation is contemporary art – and what makes it most contemporary is that, whether we know it or not, we are all part of the show. If the installation is participatory, we are encouraged to walk into the space, even touch and move elements in the exhibition.
The image nearby shows a contemporary installation with 10″x10″ works on wood panels, hung in parallel horizontal rows around the gallery space. It’s a preview for Signed Sealed and Delivered at Silvermine Art Center on Saturday evening October 5, 2013 (5:00-7:00 pm).
Question: Is my photo about the people looking at the art – or is the photo about the art? I think the former. In any case, the viewers were engaged. There were a lot of people looking at the art during the reception. This photo shows only two. If I took the photo with more people looking at the art, you wouldn’t even see the art. That’s what happens at a crowded reception. It’s exciting to be there, but you don’t see the art well, so you have to return for a better view at a quieter time.
Here’s a pitch to support the arts: Purchase tickets online for the October 5th Silvermine Arts Center wine & hors d’oeuvres party. Tickets are $35 per person – and new this year – the show and sale includes 10″x10″ original works on panel in addition to 100s of 4”x6” works of 2D and 3D art. Buy smaller 4″x6″ art for $50 each. Buy 3 small works, you get the 4th free.
Add $100 to your $35 ticket and choose a 10”x10” original work of art, average value is $300 that will be raffled during the evening. Preview the raffle collection at Silvermine (thru October 3). See works online. The Saturday evening gala event is always well attended. Order your tickets before they are sold out.
I donated artwork: one work (titled Cellblock) is part of the 10″x10″ raffle. It’s a white and black collage, made with papers wrapped and glued over recycled 35 mm transparencies. See it at the gallery preview (thru October 3rd). Four of my 4″x6″ collages will be for sale (see images below).
Installation Art Makes Us See in a New Way
The image nearby is a view of Beyond the Book I took at Silvermine Art Center a few days after the opening receptions. I went back to get images of the art without people. I wanted to show you how I see the art installed. Notice the horizontals and diagonals in the photo. Notice the forms projecting in space and the angles between.
That’s the way we see the whole picture. We think we are looking at one work, but in reality (the way the brain works) we are looking at everything at the same time. It all has to work together or the installation will look wrong.
Looking involves moving. As we move to get closer, and as we step back, the whole picture changes based on “sight lines.” Objects that have a direct line of sight with one another are said to be inter-visible.
We don’t just look straight ahead or move our eyes across and around the site. We may look up (how high are the works placed in relation to the floor and the ceiling?). Some installation works literally climb up the wall. In fact, that’s the way we see the exquisite installation by Amy Bilden in her current Silvermine solo exhibition titled Inheritance.
In the image above (the installation shows works by Sheila Hale and Stephanie Joyce), Sheila’s book sculpture is viewed by looking up and down. You have to see it in motion. But, your eyes are doing the moving.
Installation for a Lot of Small Works
The image nearby is the installation for Signed Sealed and Delivered (2012). You can see how many works are included. When you arrive, your eyes scan the entire arrangement of 2D and 3D works installed in rows.
The images below are my 4 small collages created for the gala fundraiser this October. Each is a unique work, made with tiny pieces of cut and pasted magazine papers and over-layered tiny pieces of thin, translucent white Japanese rice paper. The layered rice papers created geometric shapes and outlines in different shades of white, depending on how many paper layers I used.
I hope you can come see them in person on October 5th. They will be placed in different locations in the exhibition space, included with small works by many other Silvermine artists.The images below show how I Iayered the collage papers. Layering is an expression of how I see.
Thank you for reading. As always, I welcome your comments. I like to think about how we see art, and about how we see everything. The picture is always moving – it’s a view from a moving object: you in the car, train or plane; a view of moving people and ojbects: people on cars, bicycles, skates. It’s a moving image: a movie, TV, a video online, you at a sports event (in the stands, on the field), you at the theater, or people moving as we take in the view.
We live in a super-saturated visual environment. Images are non-stop. I say it’s a cut and paste world filled with images. We put all the images together. We complete the image. It’s all a collage.
Please tell me your thoughts. Do you have a special insight about how we see? I hope you will share.
September 21, 2013
I am writing about the art reception last Sunday at Silvermine Arts Center in New Canaan, CT. The exhibitions include contemporary and installation art. There are two solo shows and a group exhibition in the main galleries. All the exhibitions are September 15 – October 26, 2013. Gallery hours are Wed. to Sat., 12-5 and Sun. 1-5. See directions…
In addition to the gallery exhibitions, there is a special preview exhibit with 10″ x10″ works in a range of 2D and 3D media by Guild artists. The works will be part of a raffle on Saturday, October 5, 2013 (5:00-7:00 pm) at the annual Signed Sealed and Delivered collector’s party to benefit the Silvermine Arts Center.
I invite you to visit Silvermine Arts Center and see the current exhibitions in person. Every gallery installation is worth seeing.
I invite you to purchase tickets and attend Signed Sealed and Delivered on October 5th. The walls in Sara Victoria Hall auditorium at Silvermine will be installed with hundreds of original small 4″ x6″ works tacked to the wall, all ready for you to purchase. Works are 2D and 3D. Plan to attend. The art is very affordable. It’s a great party. Purchase tickets now. Read more…
The image above was taken on Sunday at the opening reception. I am with 4 artists who are part of the group exhibition titled Beyond the Book. The artists above are from left to right, Kerry Brock, me, Claudia Mengel, Stephanie Joyce and Shiela Hall. See some of the art behind the group.
Contemporary art = installation art.
Every gallery included installation art. The people interacted with the art – walking around and through, touching, reading and talking.
Today, we are all part of the show. That’s the way we want to experience art events.
When I visit museums and galleries, I study how the art is installed and how people are viewing the exhibition. I watch the people. I always find that the experience is like multi-media collage. I look at people who look at art, and they look at me. The art experience is about people, images and the way the exhibitions are put together. It’s all a collage. Do you agree?
The image above is a view of the gallery installation for Christine Aaron’s solo exhibition Liminal States: Beneath the Surface, a solo exhibition at the Silvermine Art Center (September 15 to October 26, 2012). Photo courtesy Robin Axness, Silvermine Arts Center.
Christine Aaron’s studio practice focuses on themes of memory, loss and the passage of time. Images of trees (some are real) serve as a metaphor for the cycle of life. Read more…
The image above is Shiela Hale at the Beyond the Book exhibition on Sunday at Silvermine Arts Center. The 7 artists in the group include: Kerry Brock, Shiela, Barbara Harder, Stephanie Joyce, Elisa Khachian, Claudia Mengel, and Susan Newbold.
The concept for Beyond the Book asks us to question what a book can be and how you experience it. The exhibit includes paintings, prints, drawings, books as sculpture and furniture. Read more…
Amy Bilden’s solo exhibition titled “Inheritance” includes tactile domestic-inspired sculptures that, according to the artist, map emotional and physical space. The image above is titled Timeline 1 (2012), yarn and personal objects. Image, the Internet.
Bilden’s installation includes paper sculpture that hugs the top of the gallery walls. The elements are individual fragile folded papers, but the mass effect assumes power in space. Viewers looked closely at the multiple parts that make the whole.
See more images. Read more about the artist…
The image above is me standing next to my black and white collage titled Cell Block. It’s layered paper over 35 mm transparencies on 10″x10″ wood panel. I created the work for Signed Sealed & Delivered at Silvermine Arts Center on Saturday, October 5, 2013.
The image below is a view of gallery walls with donated 10″x10″ works for Signed Sealed & Delivered. See images online.
I hope you enjoyed the art scene at Silvermine Arts Center with this online tour. I hope you know it’s always better to see the art in person.
Silvermine Arts Center is located at 1037 Silvermine Road, New Canaan, CT. All exhibits are September 15 – October 26, 2013. Gallery hours are Wednesday-Saturday: 12 – 5pm, Sunday: 1- 5pm. Signed Sealed & Delivered is Saturday, October 5, 2013 (5-7 pm). See information online, or call 203.966.9700.
I will attend the collector’s party in October. I hope I will see you there.
September 11, 2013
How do you feel creative?
What does it take to become an artist? It takes looking and making. Artists are trained to observe. We regard everything we see with a critical eye. We analyze and interpret what we see, and the world we observe is translated into the art we create.
Practice making art. Think about what you make. Think about how you made it. Make it anew. Practice.
KEEP A JOURNAL
Keep an art journal (notebook) to help you as you practice. Make it by hand. Record ideas in your own handwriting or print as you create work. Explore media and techniques in your journal. What did you do? Write down the steps you took. Write about plans for new works and works in progress.
ADD CUT OUTS
This is a collage blog, so I recommend you collage into your journal. Cut out and paste words and images from magazines, books and newspapers. Add doodles and drawings with pen and pencil. Don’t say you can’t draw: trace and transfer a line drawing in your own hand.
Make lists. Print or cut out letters. Embellish your pages. Create a map or a flow chart or a diary of your day and the work you plan to do. The journal will help you develop ideas, and help you hold onto ideas for your studio practice.
The image above is a 2 page spread from a journal by contemporary artist Nick Cave (American, born 1959). Cave is a fabric sculptor, dancer and performance artists, best know for his SoundSuits, wearable fabric sculptures (I call these fabulous 3D collages).
The hand-writing and color embellishment may just be working information. I say it’s also contemporary art, a personal object made by a contemporary artist that reveals the artist’s hand at work. Contemporary art is often about lists and information.
Nick Cave’s notebook proves that an artist’s journal can become a work of art.
Are you Stuck? Are you worried? Keep a journal and get un-stuck.
If you have a work in progress (a painting, print or collage) that you can’t finish, and are afraid to keep working on it, use a journal to help you understand what and where the problem is. Artists worry about taking a work too far.
DON’T WORK ON IT. TAKE A BREAK.
1st step: Put the work aside – turn it so you don’t see it. Walk away. Return when you think you have been away long enough, and look at your work with fresh eyes. BUT, Don’t work on it!
USE THE JOURNAL AS A TOOL
2nd step: Take out your journal. Write about what you see in the work you want to change. Describe what you like and what you don’t like.
Analyze the work in parts. Look at colors, shapes, and lines. Write about how you would change these elements.
Do color studies in your pages. See if different colors work better together.
Make several small print copies of the work you want to change. Cut and paste the images into your journal. Add cut outs and change the image. Write about the changes you made. It’s important to see and understand and describe what you do.
Find works by artists that inspire you. If I wanted to work with red, I would look at The Red Studio (1911) an oil painting by Henri Matisse (French, 1869-1954).
I love this painting and always think about The Red Studio when I think about the color red.
I found a very interesting commentary about what Matisse was doing when he created this painting.
Listen to the comments on the audio that describe how Matisse made the painting, and how he was able to crush the illusion of space – something all modern artists tried to do – and the way he used the color and the way he applied the paint.
CUT AND PASTE and CREATE A NEW WORK OF ART in YOUR JOURNAL
Your journal pages can become a work of art as a collage.
Find collage media online. The Internet is a great resource for inspiring images. Find images in art periodicals, books, exhibition catalogs, fashion and home design magazines. Find images in catalogs you receive in the mail.
Use media for inspiration. Cut and paste images into your journal. Make sure the scale is right for your journal pages. Play with scale. Write about the juxtaposition of your images, your design and the colors you use. Make notes about what you will do and how you will use the images. It’s important to write all the ideas down by hand. You will remember original thoughts better that way.
THEME AND VARIATION
Another way to tackle the problem of your unfinished art work:
Make 10-15 standard size (8.5”x11”) print copies of the unfinished work. Reproduce some copies in color and some copies in black and white. Glue the copies to a larger paper (a substrate) that is sturdy.
As you work on each copy, add collage elements with new colors and texture (use pieces of colored paper to move colors around, cover areas that are too busy, open up areas that are tight, etc.).
Make notes. Take a digital image of the 8.5″x11″ collage, reduce the size and glue the small print image into the journal. Write about the new image. Add to the image. Make it into a new image.
Analyze how you use color. Do you want to explore other color relationships? Make another collage.
Ask: Is there any image, color, shape or line that is too dominant (or too weak)? Should it be covered over, minimalized or replaced?
If you are dissatisfied with lines, make a drawing with an artist pencil (2B, 3B, 4B) onto a piece of paper (I like to work with hand-made BFK Rives paper). then add the line drawing into the collage.
The image below is by Benjamin Jones. I love what he does with text. His collage is titled 7 Virtues. He achieves so much with black and white and one color – red. Notice that the central squares (his drawings) open up the space, and the surrounding text feels like a pattern.
COLLAGE GIVES YOU INCREDIBLE FREEDOM
Collage allows you to take chances, try new techniques, play with images and design.
Other ways to get “un-stuck” with an original work of art:
Rotate the image clockwise. See how it looks in every direction. Make notes in your journal.
Look at the work in a mirror. See how it looks in reverse. Is the composition off? How can you correct it? Make notes in your journal.
HOW I START A COLLAGE
I like to start a collage by looking at papers. I choose papers even before I know what the image will be. My paper inventory is sorted by color, texture, pattern, and separated into painted paper, natural (undecorated) papers, drawings, copies, etc.
The collage below is a riff on the Exquisite Corpse genre, a figure done in 4 sections.
Historically, the Exquisite Corpse was created as a collective collage (a group project). The idea for the Exquisite Corpse (Cadavre Esquis) originated in 19th century France. The collage had words (a poem) if the group included writers. The collage had a figure in 3 or 4 folded sections, if the group included visual artists.
I made the Exquisite Corpse below. It was not a collaborative project.
It started with a magazine photo of a man with bare legs and loafers. I was drawn to the image. It was the right size and scale for the collage I wanted to create. I cut the image into 2 parts. I separated the torso and hands from the legs. I found other papers to create 4 sections. I found a line drawing map. I wanted text and a funky diagram drawimg (found in a contemporary art magazine). Other images (solid grey background blocks and textured patterns) came from interior design magazines. l included text: it’s folded. I used a black and white concentric circle as a bullseye for a face. I wanted a strong pattern. I found a drawing of a single eye, and placed it on top of the bullseye circle. I found a windowpane patterned paper, and cut it into a wedge shape for a skirt. This is a very strange fellow. It’s my idea of Surrealist art (something emotionally charged and challenging) with a contemporary twist because it includes the map and text for arms.
ART IS NOT JUST FOR ARTISTS. EVERYONE IS CREATIVE
My pitch: Participate in a creativity workshop. Make original art. Gain a new appreciation of your own creativity.
Explore contemporary collage. Contact me. I teach classes at the Pelham Art Center and teach semi private (small group) workshops in my studio at Media Loft in New Rochelle, NY. I also offer small group critique sessions and help you analyze your work in progress.
Every class session includes demonstration and a little discussion about ideas for contemporary collage. It’s important to know what’s current and who the masters are.
We create our own collage media from everyday stuff. We collage with words (text). We paint papers. Students bring their own media to add a personal touch.
Contact me to get information about a workshop. Send me your comments (see comments box below). Ask me about how you can problem-solve to get art work un-stuck. Thanks for reading.
August 30, 2013
I get a lot of comments about my post Late Night Musings on the Value of Art…
I open the blog with a review of the book $12 Million Stuffed Shark – The Curious Economics of Contemporary Art (2008) by Don Thompson.
The $12 million refers to the price for a dead shark in formaldehyde by the contemporary artist Damien Hirst (British, born 1965). He was considered the most important member of a group known as the Young British Artists who dominated the art scene in the UK in the 1990s. Critics are now very dismissive of Damien Hirst.
The image above is by Damien Hirst and titled The Physical Impossibility of Death in the Mind of Someone Living. All images are courtesy the Internet.
Contemporary art is always about controversy
I just finished a new book titled Bad Boy: My Life On and Off the Canvas, by Eric Fischl (co-written with Michael Stone, 2013).
It’s an excellent read. I recommend it to everyone who wants a glimpse inside the art world in the 1980s.
The book is a narrative in Eric Fischl’s voice about his childhood (1948-1965), growing up in a dysfunctional family with an alcoholic mother, and about his career in the hyper-charged and competitive NY art scene in the 1970s and 1980s. That art world was a world of fashion, fame, cocaine and booze.
The narrative is excellent. Fischl has a gift for conversation. The book includes images of his paintings and commentaries from artists, friends and collectors (including David Salle, Steve Martin and John McEnroe).
The first page of the book is a bizarre recounting of a car chase, following Fischl’s opening night reception at the Whitney Museum of American Art for his retrospective (1986). He admits he was high on cocaine.
The story tracks back and tells us about his childhood, how he got accepted at CalArts (a very prestigeous and selective art school), the intense competition among the students at CalArts, and how he struggled, post graduation, to find his style and become an important contemporary artist. His resume is a stunning list.
Bad Boy (the book) is named after an infamous painting Fischl did titled Bad Boy (oil on canvas, 1981, 66×96 inches). The painting propelled Fischl to art-world stardom. I choose not to show the painting but you can see it online.
Fischl writes about his style and concept. He chose figurative painting with bold, brushy strokes. His subjects refer to his life and biographical details.
John Seed interviewed the artist in the Huffpost, Arts & Culture (August 30, 2013). Fischl told him: “Almost all of my early art dealt with the fallout from middle-class taboos, the messy, the ambivalent emotions couples felt, the inherent racism, the sexual tensions and the unhappiness roiling below the surface of our prim suburban lives. Meanwhile I was a suburban bad boy – cynical, sarcastic, contemptuous of all authority.”
I took notes when Fischl discussed the ways he approached his works. Fischl said he made split paintings (multiple panels) to explore the connections between time and memory and between physical and psychological space. He said he split the paintings to keep his creative juices flowing. He added: “I have consciously tried to make work that took fragments and put them back together – impressions and bits of memories collaged into foreign lands or suburban settings, all with the purpose of making them appear seamless.
He said he was reliving his experiences as he was painting them, always at the point just before things fall apart.
Fischl describes his life with the artist April Gornik, who he married. The book includes comments by relatives, artist friends and collectors that are interesting additions to the book. They give their insight and compliment Fischl’s commentary.
The introduction says Fischl rebelled against conceptual and minimalist art that was in fashion in the time he started his career. He said his paintings became portraits that expressed angst and tension.
The large oil on canvas (above) is dated 2011 and titled Self Portrait – An Unfinished Painting. Many paintings by Fischl are large group portraits of friends at the beach.
Fischl wrote: My whole career I’ve been trying to make paintings that people can relate to, respond to emotionally and not stand in front of scratching their heads. He doesn’t love contemporary, non representational art.
He is sad that his work has been eclipsed by younger artists and new styles.
I gave the book 4 out of 5 stars as a review. It’s a really good book – I do recommend it – but I didn’t like the way it ended.
Delphine Barguidjian reviewed Bad Boy (see Scene, May 6, 2013). She asked Fischl: Do you think the art world has changed much since the 1980s? He responded: These days the institutions and galleries are less important, art fairs are more important. Short term, short hit, sensational aspect. That’s how people buy art nowadays – buy it fast and it doesn’t even leave their storage warehouse before they sell it off again.
Please add your comments if you’ve read the book and about whether or not you think Fischl’s art is (or was) controversial.
April 26, 2013
I exhibited original collage paintings at the Architectural Digest Home Design Show at Pier 94 in NYC from March 21-24, 2013.
I planned my booth (M135) and designed it to be all about bright colors – hot pinks, warm reds, greens, blues, darks and whites to make the colors ping.
Every piece of art – every painting and collage that I hung in the booth was selected for its color in order to attract an audience. And it did.
The 2 images below are installed as a diptych – 2 works hung together as one. They are titled Musical Notes 1 and 2.
The work on the left is a painting in acrylic on canvas, 24×24 inches. The work on the right is a collage with acrylic painted papers on a 24×24 inch wood panel. My studio practice is mainly collage, but I love to paint so some works are paintings and some works are painted paper collage. The image above was taken by Marcy Michaud. She wrote a blog about the show and included my image.
When I do painted paper collage, I paint papers first, and then, when the paint is dry, I play with cut paper blocks and organize them into grid patterns. I almost always work with a grid. Sometimes I change the size and shape of the papers as I make the collage. Sometimes I paint back into the papers after they are glued down. The color relationships are the most important part of each work.
The images below are 2 collages with painted papers and assorted magazine papers, framed size 13.5″x16″. The works are titled Color Game Hidden Spaces (top) and Color Game Green & Red (bottom). They were installed on a side wall in my booth.
On the opposite wall, I hung a horizontal framed collage I titled DNA. See the image below. I want people to be attracted to the power of color. It’s painted paper collage on paper, framed: 22″ x29.5″, 2012.
I was asked – why did I title the collage DNA? Answer: The color blocks made me think of uncurled strands of DNA. A little bit. My approach to naming the art was very unscientific. Someone said: DNA would only show in 4 colors. My collage had more than 4. I had 3 greens, 2 blues, a red-purple, a reddish brown and several yellows.
I checked out images of DNA online and learned that the DNA molecules are paired chemicals – hydrogen bonds given the letters A,T, G and C (A pairs with T and G pairs with C). The letters stand for adenine-thymine and guanine-cytosine. Here’s more information…
See the image below (image courtesy the Internet). It’s an uncurled strand of DNA that does look a little like my collage.
I know my collage DNA included too many colors – but I love color.
I found a link to a letter from Francis Crick to his son Michael explaining how he (Crick) and Jim Watson discovered and built a model of D.N.A. It’s a lovely hand-written note from a father to a son. Read more…
VARIETY IS IMPORTANT
People want to see variety, especially at a trade show. So I included about 30 additional unframed works for all the people who visited my booth to look at and hold.
I tucked these smaller unframed collages into 11”x14” clear vinyl slipcases and placed them in an art bin freestanding on the floor. Each vinyl slipcase was numbered to match a price list with titles, image sizes and media for each work.
Many works in the bin combined printmaking, drawing and collage.
The image below is titled Random Squares in a Grid 2 (Brown & White Stripes). It’s collage with assorted papers and acrylic on paper, 11.5″ x 11.5″, 2011.
The image below is titled Random Squares in a Grid 7 (Azo Yellow). Its a collage with assorted papers over painted paper, 11″ x 12″, 2011.
It pleased me that people took time to handle the unframed works. People like to touch. I took the works out of the slipcases so they could see and touch the surfaces.
The image below is a collage of colorful striped papers on top of a silkscreen print card (the card is a print from an original drawing). I like to collage over hand-made cards. The paper is fine printmaking quality, folded like a card, 8″ x 7″, 2013.
The 2 images below are 2 more small collages on top of hand-made cards on printmaking paper, folded, 8″ x 7″, 2013. The cards were very popular at the show, and priced to sell.
It was a good thing that I included the variety I did. Many people loved the pinks and reds of the framed works hung on the walls. Many people were interested in the variety of different works in the art bin.
Please visit my website to see 28 images that were at the show. Click on each image to enlarge and get a better view of the detail and collage layers.
THE WORK CONTINUES
Follow-up is so important after the trade show closes. I am still contacting designers, architects and others, sending information and image files they’ve requested.
A trade show offers incredible opportunities. The networking is amazing.
Please contact me if you want more information. I am happy to answer your questions about how to organize work for exhibit in a large show like the Architectural Digest Home Design show. My booth was located in the “MADE” section with more than 150 designers, artists and craftsmen – from lighting, fine crafted furniture, photography, sculpture and fine art paintings and collage. I think I will participate in the show again next year.
I will probably play with painted paper collage in the studio, and explore the idea of DNA paired as blocks. I am intrigued with mixing art and science. Do you think art and science work well together? Many people do. Thank you for reading and for your comments.
March 11, 2013
March 8-10, 2013:
I exhibited 3 collages with the Hullaballoo Collective at the FOUNTAIN Art Fair at the Armory ( New York 2013), at the 69th Regiment Armory at 68 Lexington Avenue @ 25th Street.
The Fountain Art Fair is the original site for the 1913 Armory Show.
The Hullaballoo Collective showed at booths C202-C203 and C204 at Fountain, and describes itself as a diverse group of artists who have come together through social media to present salon style exhibitions.
The image below is one installation at FOUNTAIN 2013, showing a range of works in all media.
See more images… from the Hullaballoo Facebook site.
Special thanks to Beth Giacummo who curated the installation for Hullaballoo. Giacummo is the Museum Exhibition Director and curator at the Islip Art Museum, Islip, NY.
Special thanks to many Hullaballoo members who worked so hard to make the event a success for everyone – including Bernard Klevickas, CJ Nye, Jordan Baker-Caldwell, Marianne Barcelona and everyone else who helped with installation, press, and so much more (sorry if I left out your name).
The image below is me at the Hullaballoo opening reception Friday, March 8, 2013.
I had 3 collages at the show, including the work seen below, titled Yves Klein Baloo, 2012, collage on paper, 20”x18.” See 2 more images…
IT ALL STARTED AT THE ARMORY SHOW
1913: When Modern Art Came to America
David Gelernter wrote about the original 1913 show in The Wall Street Journal (WSJ, Feb 22, 2013) with the headline When Modern Art Came to America.
The sub-headline was: A 1913 show was widely panned – but it sparked a new era.
The image below shows what the exhibition looked like in 1913 (photo-credit: Beltmann/CORBIS).
Gelernter wrote: The 1913 Armory show was dreamed up by the Association of American Painters and Sculptors to give young artists a chance to exhibit – and to educate the public about contemporary art.
The public hated it.
The most-discussed, most-attacked painting of all was by Marcel Duchamp (French, 1887-1968), titled Nude Descending a Staircase, 1912, oil on canvas, 58×35 inches.
Fast-Forward: The FOUNTAIN Art Fair at the Armory New York honors the creative genius of Marcel Duchamp. The name Fountain comes from his “readymade” sculpture – titled Fountain – a porcelain urinal he signed R.Mutt.
Read about Duchamp’s Fountain and readymades…
The image below, is a photograph of the original signed work. The photo was taken by Alfred Stieglitz at his 921 Gallery.
On the closing day, art critics Jerry Saltz and Roberta Smith visited the Hullaballoo Collective and spoke with artists. I am grateful that I had the opportunity to hear his comments about my work. The image below is Jerry Saltz with me in front of my work.
Read the review by Jerry Saltz: “The New Spirit: American Art in the Armory Show, 1913” about the exhibit at the Montclair Art Museum (Montclair, NJ – through June 16, 2013) online at Vulture (2/24/13)
The article originally appeared in the March 4, 2013 issue of New York Magazine.
Saltz opens with: Happy birthday, Modern America! For all practical purposes, you were born 100 years ago this month. After February 17, 1913—the opening of what’s now simply called the Armory Show—you have never been the same. Thank God!
He describes the Montclair Museum exhibition as a blast of fresh scholarship about the original show – but says the original Armory show was uneven. Most of the artists are lost to history.
Saltz says the Montclair show is a cautionary tale to artists everywhere to be alert…to perceive meta-patterns reforming, tendencies in motion, and your own insides being twisted inside out.
He says: engage with the culture or the culture will pass you by. That means questioning what’s contemporary about what one is saying.
It’s serious business. Read more…
If you saw the 2013 Fountain show, the Montclair Museum show or the Armory Pier 92/94 shows in NYC, please post your comments, and let me know what you think about Marcel Duchamp. Thanks.