July 5, 2014
I planned to write about an art project I designed for an adult collage class I teach at the Pelham Art Center, Pelham, NY, working with pasted papers painted in bright, primary colors. Not exactly 4th of July Red White and Blue – but Red,White, Blue and Yellow (and black). I will write about the project in my next post. The image that inspired the project was a mobile by Alexander Calder. The image below is by Carol (a teaser for the next post).
Here are comments Carol wrote: Nancy – I decided to do some sort of insect when I saw the black vee-shaped pieces that were to be placed in a particular spot on the page. Calder also made a critter in primary colors so that clinched it for me. I struggled with the background not realizing how the image and the text would be having a dialog. I found some clever headlines that made the image humorous. The insect itself dominates the lower left portion and though the bug is moving downward there is a feeling of flight. The creature has an oval yellow head with a large black dot for the eye. The body is blue and the wings are red. There is a tail with a fringe on the back in blue and a blue fringe underneath the head. There are black skinny legs–two are showing. It was a delightful revelation to me. I think I’ll do more with text and image from now on. Thanks Nancy. Carol
Challenge is Always Good
Today I want to share comments by Seth Godin in his blog post titled “Is better possible?” I recently signed up to receive his blog (well written, timely and always brief and to the point). Today’s post is about challenge. Seth Godin says most people are comfortable with saying “no” to the question is better possible? It’s the easiest and safest thing to do – to accept what you’ve been given, and assume you are unchangeable. He says, when you assume that you are unchangeable, you give up responsibility for outcomes. Don’t do it to yourself. Don’t do it to others,
I always say challenge is good for you (and me). Godin says we are afraid of challenges because we fear the possibility of the outcomes. Read what he wrote here.
I design collage art projects that give students a challenge. Last Monday they made amazing multi-layer collages in a 2-hour session. The first layer had to include strips of cut and pasted black and white magazine text in a pleasing design. They had to select the text. I brought a sample collage where the entire background was text that didn’t line up in horizontal rows. The class spent about half the time on the first layer, and organizing magazine text became its own design challenge. The second step was to create an over layer with papers in primary colors cut in unique shapes. I provided the red, yellow, blue and black painted papers and did a quick demo on ways to place shapes over the text. I showed them overlapping shapes, shapes spread out, and shapes clustered together in different arrangements. Collage is always about layers and juxtaposing images (and shapes). The class rose to the challenge and I knew they would. Kids in elementary school can do this project, time permitting. Kids love a challenge and everyone loves primary colors.
Here’s more from Seth Godin’s post. He concludes with: “We owe everyone around us not just the strongest foundation we can afford to offer, but also the optimism that they can reach a little higher. I share his post because when you stretch boundaries, you grow, gain confidence, and you feel good that you took the chance and reached the goal.
What is your goal? Whatever it is, make it creative. Make it good.
June 18, 2014
Do you use PINTEREST?
I’m passionate about Pinterest because it’s so visually inspiring. I collect Pinterest images for the collage classes I teach. I design collage projects inspired by Pinterest images, and encourage my students to visit my “boards” online.
The image above – a quote by Julia Child – says: “Find something you’re passionate about AND stay tremendously interested in it.” That’s good advice for a fulfilling, creative life. I was drawn to the pin immediately for the words and also for the white on black design. It’s pinned to a board titled black and white that includes paintings, drawings, sculpture and more by great contemporary and 20th century artists. See images here. Join Pinterest if you aren’t a member. My last post – CHILDREN MAKE ART – was about an after-school workshop project with cut and pasted papers at the Williams Elementary School (Mt. Vernon, NY). I found the sunshine image at Pinterest and designed the project with all papers included. See the 7 step lesson plan for the sunny face collage here.
See Rosella’s collage above. She was one of twenty 4th and 5th grade students at the one-hour workshop. Notice she created a background with multi-color Sharpie markers that contrast with her collage papers. She created a collage face with cut and pasted papers for the nose and eyes, and cut triangles for sun rays. Papers are bright yellow, pink, purple, lime green, blue and crayon red. Notice all the stripes and polka dots. Rosella is a very dedicated artist and included a lot of collage papers and details. See the original Pinterest sunshine inspiration and more kid’s images here. The image above shows another Pinterest pin – a sunny face – with text: “Make My Day.” The sunny face is on top, but the emphasis is on the colorful block letter text on a yellow background. Notice the letters are triangles, rectangles and semi-circle shapes. Each shape is a distinct color: green, purple, red, teal blue, and orange. Notice the colors change as shapes overlap. Everyone – kids and adults – loves to play with letter shapes. I will design 2 projects. The kids’ workshop will emphasize overlapping shapes and how the colors change when the shapes overlap. We’ll explore color transparencies with tissue paper. I will design the adult’s workshop so people explore re-contextualizing the words “Make My Day” and play with vintage Hollywood, and Clint Eastwood images as Dirty Harry.
The image above is by the artist John Stezaker. I’m a fan of his contemporary portrait collage. Notice he juxtaposed two black and white photos that are probably Hollywood headshots. He cut and pasted the images to make a single composite image. Notice one photo is smaller and is pasted down so the top projects above the photo under. I pinned this image to my board titled portrait collage. See portrait collages here. I’ve included images that range from whimsical to semi-abstract to historic works by the dada artist Hannah Hoch.
Pretty People and Pithy Quotes
Typical Pinterest boards are about food, fashion, and children. Quotes are very popular. Since art is my calling, I collect arty images and pin work by favorite modern artists (Henri Matisse’s photo shows him cutting paper for collage). I organize pin boards as portraits, art journals, mixed media, and geometric shapes, including circles, triangles, stripes, and squares. The flavor is contemporary, geometric and abstract. See all 17 boards here. I’m very fond of quotes – more and more – and started 2 boards with quotes. One board is titled “Words to Remember.” One board is titled “Typography in Art.” The image below is all cursive lettering with the statement: “All my BEST friends eat SUNSHINE.” That’s a great comment and makes me smile. Notice the hand-painted letters are black on white and stacked vertically. As a collage project, I would use the quote as a jumping-off point and ask people (or kids) to cut out images that remind them of friends, eating, and sunshine (happiness). How would you interpret best friends who eat sunshine? Would you include words in the design? Would your collage be all cut and pasted images? Would you emphasize faces, food or letters? How would you create the letters? Kids like to cut individual letters and paste down one at a time. If you paint letters, I recommend you paint individual letters on medium weight paper, allow the paint to dry, and then paste letters down. Notice the letters are different sizes and some of the letters are lower case and some are capitalized.
Notice the image above. I see a frown and also see a smile. You decide how you view it. So many people add a smiley face to end sentences in email. This one makes you stop and think. It makes me smile. The image above is a quote from Gabriel Garcia Marquez – “No Matter What, Nobody Can Take Away the Dances You’ve Already Had.” This image would be a great collage project for a girl who loves to dance. The collage could include cut and pasted magazine images of dancers and dancer’s shoes. It would be a different collage project for the Carrie Bradshaws (see cable TV – Sex and the City). She collects top designer shoes. That’s a major theme of the show. Pinterest shows a lot of shoes and images of models in high fashion shoes. Women love their shoes. Imagine a collage showing rows and rows of high fashion, outrageously beautiful shoes. You can find those images on Pinterest. That would be a statement. There is etiquette on Pinterest. The image above says: “If you want to honor someone on Pinterest please credit their work. So much art it not credited. Please put a name to the art.” I found the pin at Diane Dodson Barton’s site and pinned it to my quotes board. She has 29 boards and 10,205 followers.
The above image is a quote – “Creativity Takes Courage” by Henri Matisse written in his own script. How wonderful to see the hand of the artist in his own words. A photo of Matisse (in a wheelchair) cutting papers is on the cover of my board titled “Favorite Modern Artists” (79 pins) – including Matisse, Paul Klee, Louise Bourgeois, Joseph Cornell, Kurt Schwitters, Jean Arp and more. Every one is inspiration. I have a Pinterest board and show images of my own art that I re-pin from other people’s boards. I am always surprised to see where the images land, and always happy when I see my name credited. See my board titled nikkal studio collages here. Please add your comments. Let me know if you love Pinterest – or you prefer Instagram.
May 30, 2014
Every Child is an Artist
Pablo Picasso said: Every child is an artist. The problem is how to remain an artist once we grow up.
In March 2014, I “taught” after-school collage workshops to 4th and 5th grade students at the Williams Elementary School (Mt. Vernon, NY). The project at the 3rd workshop was a Sunny Face collage. The image below is my workshop sample. Notice there is a yellow circle that sits on top of a teal blue circle. The kids cut out the circles first. Notice the triangles with wavy stripes that are placed around the circumference of the paper circle. Kids got the striped paper pre-cut into 2″ x 4 ½ inch strips. I showed them how to cut across the strips in zigzags to create tall, thin triangles. The striped papers were bright neon colors: green, blue, yellow, fuchsia pink, and purple. Notice there are 3 small 5-point stars pasted at the top. Two students wanted to include stars. See collages by Kenyatta and Akeem below. I’ve included a lesson plan: 7 Steps to Create a Sunny Face Collage (see below). See image of striped papers directly below the 7 Steps lesson plan.
I make a sample collage for each project because it gives students a visual jumping off point for how to begin. Another reason I make a sample collage is it’s important for me to learn the best way to structure the project for kids so they can get to work quickly and complete the collage before the end of the workshop. This project involved multiple steps. The workshops last only one hour.
I set out prepared materials at every student’s seat. There are about 20 kids at each workshop. When they arrive they see papers, markers, glue sticks and scissors at every place. They can start quickly. I reproduce black and white photocopies of the sample collage and put one in front of every two students. I show the sample collage to everyone, and explain how to proceed. I tell them I do not expect them to copy my sample. They never copy. They look at my sample and they look at what other students are doing, and they always create something new.
I wanted students to paste letters on the sunny face in their own words. Notice the letters on my sample spell out “Good morning Sunshine. Notice the pasted paper letters on the image below spell out “Enjoy Artful Mornings Passions Songs Explore Today Music.” The image below is the prototype for my sample collage. I gave it a title: “Shine On” and am pretty sure I found the image at pinterest.com. The students created their own words with photocopied letters I supplied.
Notice “Shine on” is made with a single yellow circle with a watercolor blue background. I counted 24 cut and pasted triangles around the circle. Notice all the papers are different solid colors, stripes and patters. The edge of the yellow circle includes small cut and pasted letters. I think it’s difficult to read the words because the letters are so small.
Notice my sample collage (top) did not have any background. I asked the students to add color to the 8 ½ x 11 inch white cardstock they used for their collage background paper. They didn’t have time to create a watercolor background. I showed them how to hold 2 or 3 Sharpie markers in one hand and decorate their background with multi-colored lines done with a sweeping motion. I love how every student created a different background with the markers, and how they were so focused as they worked. It was a great beginning. See all the different images below.
The image above is by Rosella. She’s a very dedicated young artist. Notice her multi-color background – curved, concentric stripes in blue, yellow, purple and pink. Notice her sunny face has 2 rows of triangle rays around the circle. She cut and pasted larger striped triangles first, and then added smaller triangles from a polka dot patterned paper as a second row. Notice how collage papers became a face with eyes (eyeglasses?) and a red and green nose. Notice the words “Happy Day” became a smiley mouth, and how she used collage letters to create a signature at the top.
The image above is by Omarion, who designed a background with free-hand scribbly lines, first in yellow Sharpie marker, then in blue. Notice that the blue lines over yellow lines make green lines.
Notice the bottom circle is black and the top circle is yellow. Omarion cut and pasted 11 striped triangles around the circle. Some are tucked under and some are over the yellow circle. Notice the collage squares with black on white letters that spell “freedom of speech.” See Omarion’s signature in cursive that matches the loopy shaped lines in his background design. I am sure he knew exactly what he was doing as he made the collage.
7 Steps: Lesson Plan for the Sunshine Project
(1) Use cardstock for the substrate (bottom collage layer). Refer to the collage sample with the blue colored background. Hold 2 or 3 Sharpie markers in one hand and make patterns on the white cardstock.
(2) Prepare 2 circle outlines: 5” diameter on blue paper and 4” diameter on yellow paper. Cut out 2 circles.
(3) Cut preprinted striped paper in 2”x4” strips (see below). Cut triangles from paper strips: zig zag from bottom to top and back. Notice the pattern in all triangles show the same horizontal direction for all pieces. Match colorful papers to Sharpie marker colors in the substrate.
(4) Glue the large blue circle down on the decorated substrate near the middle of the paper. Glue cut triangles around the blue circle – with the pointy edge projecting outside the circle.
(5) Glue the smaller yellow circle down over the blue circle. Try to cover the uneven edges of the triangle papers.
(6) Decorate the circle “face” with cut papers and pasted letters that create a personal statement or quote.
(7) If you like, add collage to the background. Add your signature.
The image above shows 6 striped paper strips. Each student got 2-4 strips from which they cut the colorful sunray triangles. Most students made 12 – 20 triangles to glue around the blue circle.
Following are 5 finished collages by students at the Williams Elementary School after-school workshop.
The image above is by Kevon. His background is made with scribbly lines (done while holding 2 markers in his hand). The lines go from top left to bottom right and from top right to bottom left. Notice Kevon added 6 cut and colored 5-pointed stars along the side and corners. He cut 14 perfect striped paper triangles, and pasted them down on the larger yellow circle. Notice how the striped colors radiate out in all directions. The colors are in motion. Try to see the 6 stars. They blend into the background and are almost invisible. His text is his signature, done with black on white cut and pasted letters within the gold yellow circle. The more I look at this collage, the more I enjoy it. Kevon’s collage seems simple, but it’s really sophisticated.
The image above is by Bridney. She had fun swirling markers to create overlapping loops in blue, green, purple and hot pink. Notice the light yellow circle is placed off-center and is covered with 12 striped triangles. Notice the colors – pink, yellow, green, blue and purple radiate out into the background created with swirling lines. Everything is in motion, including the cut and pasted letters that becomes Bridney’s signature.
The image above is by Kenyatta. He decided to use yellow-green paper for his substrate, and created a scribbly line background pattern with green and blue markers going from top to bottom on the diagonal. Kenyatta’s sunshine is larger across than all the others in the workshop. Notice there are 15 long, thin triangles for the sun’s rays. Kenyatta is tall and slim. The paper patterns show different directions. Notice the 5-pointed stars are hand-colored with blue, green, yellow and hot pink markers. See how they blend into the background in terms of colors, but also stand out against the background because the lines are facing in different directions. This young artist took great care in cutting shapes and placing every paper in his collage.
The image above is by Akeem. He used Sharpie markers to draw almost parallel lines across his Cardstock background. He started in the upper left and drew alternate blue and green lines diagonally. Akeem glued 2 circles to the background, and placed his cut striped triangles on top so you see how the papers are glued down. The combination of drawing (contrasting lines) and collage is beautiful to see. Notice Akeem cut a 5-pointed star, left it uncolored, and glued it down near the center of the gold yellow circle. He added his signature nearby as a closely spaced collage of block letters, black on white. The whites in the star and signature tie into the white showing through the drawing in the background. There’s a lot of freedom and energy in the way this collage is organized, and that is very exciting to see.
The image above is by Andrew. He drew free-hand crisscross lines that overlap and curve across the cardstock white substrate. He used purple, green, blue, yellow and hot pink Sharpie markers – colors that match the printed striped papers in his collage. Notice he added spatter dots with marker dipped in water. The 2 circles that form the sunshine are cut from light and dark yellow. Triangle rays are cut from striped and from polka dot papers. Andrew wrote “You only Live Once” in red green yellow and black, and signed his name in cursive – all around the circumference of the yellow outer circle.
Before he was finished, Andrew drew black triangles at all the corners. He has an intuitive sense of design – he curved the wide base of his triangles, which repeats all the curved lines in the background, curved stripes in the printed collage triangles, and curved words along the circle inner edge.
Kids make art to express ideas and show their personality. Children are brilliant at color, design and composition. It’s intuitive. All they need is an assortment of inviting materials. I design collage projects to make it easy for them to get engaged.
How do you get the kids engaged? Project must be cute, fun and open to personal expression. Kids need to see the project as a challenge they set for themselves. It’s their choice to make the project as simple or complicated as they want. My challenge is to focus and encourage them, and organize the materials so the project can be completed in a short period of time. I love to see children make art. That’s why I design art workshops for kids.I want to optimize their experience. I want kids to feel proud of their work and how they’ve reached the challenge they gave themselves.
Often my idea for a collage project starts with an image I find online or in a magazine. See Rosella’s sunshine collage and other works by and for young artists at my Pinterest site. Thank you for reading. I welcome your comments.
May 8, 2014
I used the phrase “Collage Artist Extraordinaire” to describe Ivan Chermayeff in my review of the exhibition ABOUT FACES (March 20-April 19, 2014) at the Pavel Zoubok Gallery at 531 West 26 Street, in NYC. Read it here.
Pavel Zoubok says: no art form expresses the character of the twentieth century and the contemporary moment with greater clarity and immediacy than the art of collage. The Gallery is the place to go if you are a fan. The exhibition calendar includes both historic and contemporary collage artists. Read more here.
I’ve been a fan of Ivan Chermayeff’s collages for years and years, but only saw reproduction in art magazines. ABOUT FACES included collage and assemblage (sculpture). Each wood assemblage included found wood and objects like toys, tools, river stones, sandpaper, and/or brushes. Two works included a found glove that became a face portrait.
My photo (above) shows the gallery installation with 3 wood assemblages by Ivan Chermayeff. Titles are: (left) Janus Head with Canoe Hat, (center) Portrait with Pincushion Cap, and (right) Young Person with Hairless Brush Head. I’ve included solo images (two views) for each sculpture below. All images are courtesy the Pavel Zoubok Gallery. Sculpture should be seen in person, where you can walk around and see different views. The front and back are sometimes very different in Chermayeff’s assemblage.
The image (above) is titled Janus Head with Canoe Hat (2000-2005), mixed-media assemblage, 23 ½ x 8 ½ x 8 ½ inches. Click on the image and enlarge it to see more detail. Look at the nose. I think it looks like the handle on a coffee mug, big enough for you to put your hand through. Notice the hat is actually a little carved wood canoe. Notice the lips on the mouth are wood and painted red. Look at his expression. I think he looks grumpy or is sulking. Read whatever you like into his expression.
The image (below) is a profile view of the same sculpture, and, when you look up, you see the bottom of the canoe on his head. I think the wavy blue painted wood on the side is shaped like a child’s drawing of waves in the ocean. You don’t see the waves in the image above, but you can see the shape better in the image below.
What’s in a name?
I checked Wikipedia for information about Janus – the ancient Roman god of doors, passages, endings and times (representing war and peace). FYI: The month of January is named for Janus. Janus is usually represented with two faces. I wonder if Chermayeff named his wood sculpture Janus because the sculpture includes part of an old wood door. Read more about the god Janus here.
He collects garbage like crazy.
I include a collage (above) titled Red Talker, 15×11 inches (1995). Chermayeff says he collects garbage like crazy. According to the Gallery press release, his collages include the stuff of everyday life: scraps of paper, stamped envelopes, tickets, photographs and other discarded oddments that become juxtaposed compositions of color and form. Chermayeff says: “A little spot, whether a postage stamp, a graphic mark, a letter of the alphabet, a splash of color becomes a nose, an eye or a mouth. In the right place, more or less, it becomes a face…that is both recognizable and rewarding. When a face is there, it has its own reality, whether recognized or not, much like strangers passing in the street.” Read Gallery comments here.
Notice the colors in Red Talker: black, white, red and a peachy-tan. The portrait is all torn and cut papers in geometric shapes: squares, rectangles, circles and triangles. He’s facing right, and wears a hat. He has a large white dot for an eye. His mouth is a torn red and white address sticker. See more gallery images here.
The image (below) is a front-facing view of Chermayeff’s mixed media assemblage titled Portrait with Pincushion Cap (2000-2005), 13 x 8 ½ x 3 inches. Notice the deep grain in the wood and how the artist used smooth round white river stones for eyes. The stones are different sizes. The larger one faces vertical and the smaller one faces horizontal. The mouth is wood painted red. Ears appear on the side of the rectangular head as semi circles painted black. The pincushion cap (painted silver and blue) is another toy wood canoe sitting across the top of his head.
The image (below) is the rear view of Portrait with Pincushion Cap. Click on the image to enlarge it. Notice the rough surface texture in the wood in this view. There’s a deep recess gouged into the wood. I see a different face. The eyes are still white river stones, but they look tiny. The mouth is part of a negative space so it looks like his mouth is open. The “nose” is a rosy red blobby shape stuck into the gouged surface. The ears are gone, replaced with a solid black band of wood with rounded ends and now looks like a hat. The toy wood canoe (pincushion) sits on top. I think he looks like a drunken Russian sailor or an old Viking. It’s another Janus with two faces.
Two images (below) are front and side views of the mixed media assemblage titled Young Person with Hairless Brush Head, 24 x 15 ½ x 4 ½ inches (2000-2005). Notice Chermayeff added wood dowels for this portrait’s 2 arms. The Head is an irregular shaped rectangle. It’s an old hairless brush with 27 holes in 3 vertical rows. There’s a painted red wood dowel planted across the top of his head and a painted red block projecting between his legs. The wood figure looks like he’s wearing cut-off pants. His feet are thin black metal rods that run down to a square metal base. What do you see? I see a portrait of a young boy. Do you think the sculpture is innocent and childlike? I think maybe not.
Ivan Chermayeff’s fine art collages and assemblage sculptures have been exhibited throughout the United States and internationally. His next exhibition will be in the UK. He is best known as a designer and illustrator. With Tom Geismar, he founded the design firm Chermayeff & Geismar (1957), and the logos they’ve designed are recognized worldwide.
FINAL THOUGHTS: See it in Person
In my previous post, I wrote you have to see Chermayeff’s assemblage sculpture in person and walk around to view the work from every angle. I hope the additional images here gave you more information. Please add your comments below. Do you like this artist’s mixed media assemblage? Do you prefer the collages? Do you think assemblage is 3D collage?
April 30, 2014
ABOUT FACE – Amazing Unique Collage and Assemblage Sculpture
Collage enthusiasts – if you want to see important contemporary and historic collage, and also want to see assemblage and mixed media installation, go to the Pavel Zoubok Gallery in Chelsea, 531 West 26 Street, NYC. . Every month the gallery showcases artists who explore and extend the boundaries of these media. See more information about the gallery here.
I went to the gallery to see collages by Ivan Chermayeff. I’ve been a fan of this artist’s work for years. The exhibition (March 20-April 19, 2014) also included his wood assemblage. My image above shows the gallery installation of 3 Chermayeff wood sculptures on white pedestals. It also shows framed collage portraits installed on the rear wall.
This is collage sculpture. Notice the work is assembled with pieces of found, carved and painted wood. Chermayeff juxtaposes old materials and objects like toys, tools, river stones, sandpaper, and brushes to create heads and torsos. Each sculpture (like each collage) has a unique personality. Notice the 2 figures and face are embellished with painted wood in red, white and blue for eyes, noses, lips, ears, hats and anatomical parts. Sorry you can’t walk around the sculpture to see them in person.
I love the tall sculpture on the left in the photo. He has a protruding wood nose that reminds me of a handle on a big coffee mug. His lips are pressed together, and almost touching his nose. You can read whatever you like into his expression. That’s what makes the sculpture so interesting.
DowntownMagazineNYC reviewed the exhibition that showcased works by Ivan Chermayeff (b 1931, London, UK) and photocollage by Witold Gordon (b. Warsaw, Poland, 1885-1968). In the review, Xavi Ocana wrote (March 20, 2014): Chermayeff has the ability to take the ordinary and turn it into the extraordinary, a perfect equation of the playful plus the poetic. Read the exhibition review here.
The image above is titled BOY WITH SAM’S HAND, collage, 30×22 (1999). Notice the figure is made from an old corrugated cardboard box that is opened flat. Chermayeff kept the original cancelled stamps and brown tape on the cardboard. The red stamps are now Sam’s eyes. One of the blue mailing labels is his nose. There’s a black line in exactly the right place for a mouth. Chermayeff added cut black paper for shoulders, and pink semi-circles for ears. Notice the painted child’s handprint. That must be Sam’s “signature.”
SMILE and LOOK CLOSE
The image above is titled GIRL (2000), collage, 14 x 11 inches. It’s so simple and so very clever and witty. The shapes are dots, semi-circles and rectangles. The girl’s face is a grey paper rectangle and her eyes are round grey dots. See the gold and blue cut papers – semi-circles that are ears and a hat.
Notice her blue dress. It’s the same crayon blue paper as the “hat” and reveals a photo of deep cleavage showing through the V neckline in the dress. What a girl! The best part – her “mouth” is actually a photo of an eyelash. At first glance, you see a curved black line. It’s a happy-face smile. Then you notice it’s a fringe of eyelash in a closed eye. Very demure. How witty! My reaction: it’s a Mona Lisa smile. What is she hiding?
He collects garbage like crazy
In interviews, Chermayeff admits he has drawers full of old envelopes and postage stamps, and recycles gloves people drop and leave behind. His approach to collage is spontaneous. He says. “What I’m playing with is making new visual connections. That’s what my collages are all about.” Chermayeff’s people are made from letterheads and labels, pebbles and Polaroid prints and stuff from the office recycling bin. The craftsmanship is meticulous, pristine and clean. They are not garbage.
The image above is titled Red Talker, collage, 15×11 inches, 1995. Notice the colors: black, white, red and a peachy-tan. The portrait is all torn and cut papers in geometric shapes: squares, rectangles, circles and triangles. The portrait is facing right, and wears a hat. He has a large white dot for an eye.
Notice some papers have tiny punched holes and show the white through. One collage paper is a printed bullseye with black concentric circles on a peachy tan background. There are multiple tiny holes punched in a horizontal line marching across the bullseye to meet a larger white dot in the outer black circle. See more punched holes in the red paper rectangle touching the bullseye paper. Notice the mouth is a torn red and white business form – probably a mailing label.
Did You Know?
Ivan Chermayeff is world famous as a designer and cofounder (1957) of the firm Chermayeff & Geismar, that produced the iconic logos we all know: NBC, PBS, CBS, Mobile Oil, Chase Manhattan Bank, National Geographic, the Museum of Modern Art and more. He graduated from Yale University and began his career designing book covers and album covers. He is most famous for his logos, but also does collage and has exhibited in museums and galleries all over the world.
The image above is the PBS logo (Public Broadcasting System) the firm designed in 1983. Image: courtesy Pinterest
According to artsy.net, Chermayeff (born 1932, London, UK) is an artist who rotates through multiple media. His strength as a designer and illustrator are equally present in his collage and printmaking media. They say, the works are ingenious and complex even though they look simple. Read more here.
Ivan Chermayeff says “collages make it possible for everything to be something else.” That’s the essence of our contemporary lives.
I talked to Pavel Zoubok at the gallery and learned so much about the artist and the art works. It was a great opportunity to speak with an expert. Zoubok is a passionate advocate for collage and has devoted his career to promoting this genre. Here’s a quote: Zoubok says we live in a cut and paste world. Isn’t that the essence of contemporary life? That is the essence of collage. Zoubok also believes collage is manifest in the digital culture that is transforming our society. I absolutely agree.
Tell me what you think.
March 4, 2014
Your comments are always welcome
I am always pleased to receive comments and questions on the blogs I write, especially when they require me to dig deeper and locate information and learn something new in the process.
Duh Chuen Wang Priefnitz commented on the Dec. 18, 2013 post Robert Motherwell and Contemporary Collage, and asked about Motherwell using Japanese rice paper in his collage practice.
It’s true. Motherwell incorporated Japanese rice papers into his collages.
I re-read the exhibition catalog Robert Motherwell Early Collages, especially the chapter by Jeffrey Warda on papers and materials that Motherwell used in the 1940s (pp 55-67) and learned the Japanese papers were called unryu. See an image of the paper below.
Unryu is one of the most popular papers from Japan, and is commonly referred to as mulberry paper. It contains strands of fiber that are added to the sheet to create contrast and texture. Tear Unryu Paper in any shape you desire and you create a soft, feathered edge. The name translates as “dragon paper” and refers to the long fiber swirls that are unpulped, unbeaten kozo fibers. Unryu paper can be tissue thin or thick enough to support a print. The long fibers are typically made of kozo, but can be gampi or hemp. See what the papers look like at NY Central Art Supply.
Motherwell Modified Collage Papers
Jeffrey Warda wrote Motherwell modified his papers with ink and paint – always exploring how the papers changed as he applied new paint or ink layers. Unryu is especially strong and can withstand manipulation with water media.
It made me think about what I saw at the exhibition, and how the surface of the collage papers were wavy and the edges were irregular.
My favorite Motherwell collage (seen above) is titled Pancho Villa Dead and Alive (1943). It includes gouache, ink, oil and pasted German decorative paper, colored paper, Japanese paper and wood veneer on paperboard (size: 71.7 x 91.1 cm – 28 x 35 7/8 inches), collection, the Museum of Modern Art, NY. Image: Dedalus Foundation, Inc./VAGA.
Please notice how Motherwell created a geometric background with rectangles and circles in layers of paint in dusty blue, faded pink. creamy white and yellow with 2 abstract black stick figures painted over. Notice papers on top of papers. See red black and tan paper on the right side. This is his German decorative paper. Motherwell added splotchy dot patterns with pale red, pink blue and black.
In the catalog essay, Warda tells us Motherwell loved to work with fine quality artist drawing papers for their matte appearance and subtle textures. We learn Motherwell selected commercially printed decorative papers for their bright colors because the papers reminded him of long visits to Mexico with artist Roberto Matta. Warda also discussed how Motherwell experimented with Japanese rice (unryu) papers to see the response he got from ink and paint stains he applied to the thinner Japanese papers.
The image above is a detail of the collage Joy of Living (1943) and shows how the green ink puddled and spread. Notice the wavy irregular texture of the green paint. We don’t know how many layers of water media, ink and paint Motherwell applied and reapplied because he wanted to see how the paper changed as it absorbed each new application of ink or paint. Please note also that the colors faded and some changed over the years. Warda shows examples of color changes.
The image above is a full view of Joy of Living (1943). The collage on paperboard includes Japanese paper, colored paper, construction paper, printed map and fabric, ink, gouache, oil, crayon. Collection: the Baltimore Museum of Art. Image: Dedalus Foundation, Inc./VAGA (size: 110.5 x 85.4 cm – 43 ½ x 33 5/8 inches)
The image above, titled View from a High Tower (1944-45), is collage with tempera, oil, ink, pastel, pasted wood veneer, drawing paper, Japanese paper, and printed map on paperboard. Size: 74×74 cm – 29 z 29 inches (private collection). Image: Dedalus Foundation, Inc./VAGA
Notice the torn edges of various collage elements and the wavy, buckled edge of the large light grey paper on the left side. Texture is an important visual element – almost as important as the geometric patterns with straight and wavy edged papers in red, brown, blue, white, yellow, green, black and grey.
The Motherwell image above is titled Blue With China Ink (Homage to John Cage). It’s collage with oil, ink, charcoal, pasted Japanese paper, colored paper, drawing paper and fabric on paperboard (101.6 x 76.2 cm – 40 x 30 inches). Image: Dedalus Foundation, Inc./VAGA. Motherwell love to paint with a light blue and variations on yellow ocher.
Motherwell produced nearly 900 works with collage during his lifetime, and said collage influenced his paintings.
Read the exhibition catalog essays. They give critical insight into how Motherwell began working in collage, and how important it was to his creative practice.
The Guggenheim Museum exhibition was an opportunity to see and share Motherwell’s love affair with paper and collage.
On Feb. 6, 2014 I gushed: I love how Motherwell painted over his media, used patterned papers, painted onto so many different papers…I love how he tore off layers of papers to expose raw paper surfaces below…
I was excited because I had never seen so many Motherwell collages in person before the exhibition.
Please add your comments below. Tell me what you think about the papers Motherwell used. Do you work with Japanese papers? Do you paint your papers for collage?
January 23, 2014
The Journal as Art
I’m reading the book Drawing from Life: The Journal As Art, by Jennifer New (Princeton Architectural Press, New York).
It’s a beautiful book with text and drawings by 31 artists who keep a journal. Chapters include Observation, Reflection, Exploration and Creation. The preface states: journals are unsung heroes, the working stiffs of creative life.
A journal can be a diary, sketchbook and notebook. It can include anything and everything. It’s a place to play and explore images and ideas.
DO A DRAWING FROM NATURE
At the beginning of the book Drawing from Life, I found the image above – a line drawing of oak leaves with a live twig and oak leaves placed on top of the drawing by Maira Kalman. The artist says she likes to gather information while she walks. She is the author of 13 children’s books and a frequent contributor to the New Yorker magazine. I’m intrigued by her drawing.
I love that you can see through the photo of the leaves to the beautiful drawing below. It’s simple and elegant. I feel the gesture of the lines in contrast to the actual leaves and bark.
In an interview, Kalman says she always has a sketchbook with her and is drawing all the time.
I decided I have to make more time to draw.
So many people say they can’t draw a straight line. Actually – anyone can draw a straight line if they use a ruler. No excuses! If you are an artist or wannabe, I say: get comfortable with drawing because it’s really important.
If you don’t know how to draw something (example: leaves), trace the outline of the leaves and transfer the image onto drawing paper. Another way to approach drawing is find a drawing and copy it. Turn the image upside down and start to draw. You will be amazed at how good your drawing will look when you copy from an upside down image. Your confidence will rise. You can start to draw from what you see – example – a view on a walk, your desk, your room, etc.
Look at something and make an abstract drawing – gestural lines and shapes in response to the image you see. Collect images and make a sketch while you look at the image.
I think it’s fun to doodle with lines, move the pen and watch the image grow. I like to draw from my imagination.
The image above is the 7th drawing in my journal. It’s my favorite drawing so far. The journal is exploring an imaginary fishy world with waves, floating food, and underwater critters. Do you see the snail and the fish in this one?
The journal papers are 10×8 inches. The drawing is small and the collage papers are tiny.
I started the collage with horizontal strips of BFK Rives art paper. I drew with pen and ink on the cut paper and then glued them into the journal. Notice the irregular sides. That’s intentional. I found magazine papers with printed text, tiny dots, a spoked wheel, and stripes. Since the drawings are high contrast pen and ink, I looked for collage papers in a range of grey to black tones. I drew spirals with pen and pencil with softer edges.
I titled the image above White Paper Waves. The cut paper on the bottom of the collage was a scrap leftover from another collage project. I love the pencil outline around the cut out waves. As soon as I found it, I knew I would use it.
I titled the image above Fishy Tails.
Recently I decided I want to cut the collage papers into open shapes with space in the middle. I use a fine scissor. I want the paper to become another line – collage as drawing that can be glued on top. The image below is a cut paper sampler for the next drawing.
PLAYING WITH LINES
I started the journal because I wanted to play with thin and thick, straight and wavy lines. I wanted to create new images that explored the image that came before. My journal is a journey via drawing and collage. I want to see how the images change. It was very important to use certain papers. I discovered I like some papers much better than others. It will influence what I use and what papers I collect.
My journal is spiral bound with a heavy black paper cover and includes medium weight drawing paper. I’m particular about size. It has to feel right in my hand. The pages have to be receptive to pen and ink and bear the weight of glue and papers.
Some artists do a drawing every day. Experts say drawing is good for relaxation, concentration and observation.
If you want to learn to draw, find an online tutorial, a how-to book, or take a class at an art center.
Buy a notebook with blank pages and fill it with drawings. Write comments, keep notes on what you observe. Draw from life. Look at what’s around you. Doodle with thick and thin lines. Create open and solid shapes. Add patterns and stripes. Fill in with cross-hatch lines. If you like – embellish with paint and collage.
Buy pencils and pens. B pencils are softer and darker (2B, 3B, 4B, 5B, 6B). H pencils are harder and lighter (HB, 1H, 2H, 3H, 4H). I do not like H pencils and never use them. I like 3B, 4B and 5B. Higher B pencils (6-8B) are too soft, dark and smudgy for me. Permanent ink pens come with a range of ink tips. I like them all. I especially like the pens with a brush tip.
I love the blog post “the 90 cent solution to becoming organized, creative and successful” by Pat DePuy at Mainstreethost.com (December 18, 2013).
What is the 90 cent solution?
It’s a notebook (a journal) that you buy. Typically it’s unlined papers in a bound book.
Experts say it works best when what you enter is handwritten – when you print by hand or use script/cursive – never mechanical wordprocessing.
Experts say keeping a notebook improves your memory. There’s documented evidence that the ideas you record by hand get acted on and become more successful.
Because your notebook/journal is handwritten, you remember with much more detail when you review what you wrote.
Advice to everyone: keep a notebook. Artists: fill your journal with images you find and drawings you make. Add comments on what inspires you, what you did and why you like it, and what you will do next (what will change, what will stay the same).
Please contact me. Do you draw? If not, why not? Do you keep a journal? Can you describe it? Thank you for reading and your comments.
December 18, 2013
Pancho Villa Dead and Alive
My favorite work by Robert Motherwell is titled Pancho Villa Dead and Alive (1943).
I love the work for the color, texture, painterly surface, the look of the layered papers, and Motherwell’s exuberant approach to his collage practice. It is mixed media to the max. It looks so contemporary.
What a treat to see this and other works by this artist when I entered the Thannheiser Galleries at the Guggenheim Museum (through January 5, 2014) at 1071 Fifth Avenue at 89th Street, NY.
I did not expect to see so many – 50 plus collages and related drawings in ink and paint from the period 1943-1951. I did not know Motherwell created that many works in collage media. Every work is large in scale (especially for collage and drawing).
Pancho Villa Dead and Alive was created with cut and pasted papers, ink and wood veneer on paper board (28 x 35 7/8 inches). Some papers are printed and embellished with more paint. The paints include oil and gouache (opaque watercolors).
Motherwell layered painted papers in the same color family (see the light blue section in the lower center part of the collage). Notice the paint drips.
Motherwell painted his papers in his favorite colors: black and white, ocher and pale blue.
He used flat light blue paint and faded pink paint for his background and some of the overpainted papers.
He painted red and black splotches and (faded) red and blue drips behind the child-like stick figures that imply two bodies (dead and alive) riddled with bullet holes.
Motherwell liked to work with fine-art drawing papers for their matte appearance and subtle color variations. He liked commercial coated papers, especially in bright colors, because they reminded him of the colors he saw in Mexico (during a 6 month stay with artist Roberto Matta).
View from a High Tower (above) was completed in 1944-45. It is 29 x 29 inches, tempera, oil, ink, pastel and pasted wood veneer, drawing paper, Japanese paper and printed map on paperboard (private collection).
I recommend the exhibition catalog for the four excellent essays. The first essay is about Motherwell’s early career with Peggy Guggenheim (titled The Theorist and the Gallerist, written by exhibition curator Susan Davidson). Another essay is about Motherwell’s life-long fascination with themes of violence, revolution and death (titled Bloodstains and Bullet Holes, by Megan M. Fontanella). The third essay is about how he stretched the boundaries and the possibilities of paper as a vehicle for visual ideas (titled Motherwell’s Risk, by Brandon Taylor). The last essay is about his materials (titled Motherwell’s Materials in the 1940s, by Jeffrey Warda).
Jeffrey Warda’s essay (page 56) mentions that all the commercial papers Motherwell used faded and the strong pink is now a pale flesh tone.
Holland Cotter wrote a review for the NY Times (A Painter’s Cut-and-Paste Prequel: Robert Motherwell Early Collages at the Guggenheim, Dec. 3, 2013).
Cotter’s final paragraph asks slyly if Motherwell relinquished his role as sole creator of his work (a defining feature of Abstract Expressionism) because gravity, chemistry and light deserve equal billing as collaborators since the works have changed color, texture and form. My comment: Change is good.
Embellish the Media
I love how Motherwell painted over his media, used patterned papers, painted onto the papers, painted out papers, added lines, dots, drips and splotches. The surface is dense and yet there is incredible freedom in the process, and so much energy in the execution. I love how he tore off layers of papers to expose raw paper surfaces below, and contrasted hard-edge cut papers with soft-edge torn papers.
The image above is titled Jeune Fille (1944). It’s 24 x 19.5 inches, oil, ink, gouache, pasted drawing paper, colored paper, Japanese paper, German decorative paper and fabric on canvas board (private collection).
Motherwell was an explorer – adventurous and exuberant in his practice. Everything in the exhibition looks cutting-edge and even edgy. That is why this show is so important.
Read my comments (below) on how Motherwell got the exhibition that launched his career in 1943 – see FINAL THOUGHTS – Who you know…
Motherwell was a scholar and a founder member (who wrote about) the Abstract Expressionist movement of the 1940s – also known as the New York School – and (no surprise!) Motherwell’s collages are filled with the gestural energy prerequisite for Ab-Ex painters.
Read more about Abstract Expressionism at the Heilbrunn Timeline of Art History (Metropolitan Museum of Art) website.
The image above is titled 9th Street Exhibition (1951). It is pasted papers with gouache and ink on paper, Mildred Lane Kemper Art Museum, Washington University in St. Louis, Donazione/Gift of Mr. and Mrs. Joseph L. Tucker, 1963.
Read an excellent overview of Motherwell’s life and career (with images and links) at Wikipedia.
Also see the the humorous (and informed) post about the Motherwell/Guggenheim exhibition (11/13/13) by Ariel at Collage Volupte called How Robert Motherwell Lost His Dada Cred – its about Motherwell’s connection to Dadaism and Surrealism.
At the end of the post, Ariel writes about an old parlor game called Exquisite Corpse – played by Dadaist poets and visual artists in Europe in the period between World War I and World War II.
Motherwell was fascinated with dada, Surrealism, and automatic drawing.
FYI: Roberto Matta introduced Motherwell to a version of the exquisite corpse game at his NY salon. Motherwell attended the salons regularly in the early 1940s. Read more about the history of the Exquisite Corpse.
FYI: As a game, the exquisite corpse can be played by poets or visual artists. Players add words or images (drawings or collages) in turn. The first player writes or draws, folds the paper and passes it on to the next player. The final image or poem is supposed to be a surprise. Usually there are three or four players but, depending on how the paper is folded, the number can be more or fewer players.
FYI: Pancho Villa is an historic Mexican Revolutionary general, celebrated for his extraordinary feats in battles in the Mexican War for Independence. He was never defeated. He was assassinated in 1923 when he tried to run for political office in Mexico. Many streets throughout Mexico are named for him.
WILL YOU BE IN NEW YORK FOR CHRISTMAS?
Try to see Robert Motherwell: Early Collages at the Guggenheim Museum, 1071 Fifth Avenue at 89 Street before it closes January 5, 2014.
The exhibition catalog is excellent for the essays, but not for the images. You have to see the works in person. I can remember how bold and colorful the works are. I saw them. I will remember. The catalog colors and resolution is disappointing (it may be because the catalog was relatively inexpensive). The Motherwell exhibition archive and the number of images may change. Best to get to the Museum and see the works in person. If you are a collage artist and if you love collage, you must see this show.
Who you know and how you build relationships with the right people is critically important. It also helps to be a brilliant artist in the right place at the right time.
Robert Motherwell (1915-1991) was an intellectual who wanted to be a painter.
Motherwell got his BA in philosophy and French at Stanford University (CA) and started his PhD in philosophy at Harvard University. He left Harvard, went to Columbia University (NY), met and was mentored by Meyer Schapiro (art history professor with an extraordinary reputation and contacts) who advised Motherwell to quit philosophy and focus on painting.
Meyer Schapiro introduced Motherwell to European emigree artists in NY, including Andre Masson, Marcel Duchamp and Max Ernst. It was helpful that Motherwell was fluent in French, had studied literature and philosophy, and had been to Paris.
Motherwell became good friends with Chilean Surrealist artist Roberto Matta who introduced Motherwell to automatic drawing and Surrealism (which influenced Motherwelll’s artistic practice for the remainder of his life).
Matta also introduced Motherwell to Peggy Guggenheim who invited him (with William Baziotes and Jackson Pollock) to create collages for her upcoming collage exhibition at her gallery Art of This Century in New York.
According to Peter Plagens’s Wall Street Journal review (Robert Motherwell and the Exuberance of Invention, Wall Street Journal, Dec 5, 2013), Peggy Guggenheim wanted to juxtapose the work of pioneering European modernists with younger American artists just beginning to push into Abstract Expressionism. She asked the Americans to create collage for the Art of this Century show.
How could the young artists say no – they had to create the work – they wanted to be included in a show with European masters like Jean Arp, Georges Braque, Juan Gris, Joan Miro and Pablo Picasso.
Motherwell’s collages were a huge success in the Art of this Century show. Peggy Guggenheim organized a solo collage show for Motherwell the following year.
Pancho Villa Dead and Alive was in the second show and immediately purchased and is now in the collection of the Museum of Modern Art NY.
Please send me your comments. Happy Holidays and Happy New Year.
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.