A New Collage: Drawing the Line
February 28, 2011
WHERE DO YOU DRAW THE LINE?
I worked on a new collage the other night and didn’t finish it until almost 2 am – I was determined to put all the pieces together and not leave it for the next day. Reason: take a break and it all changes. Your thoughts are transient. So it’s important to finish everything in one session or accept the fact that the work (the ideas) will change.
Does this happen to you?
My “Line” is making collage. The collage (seen above) is titled “Drawing the Line.” It’s 14×11 inches, with various papers, acrylic paint, mounted on smooth Bristol paper (2011). When the last piece was glued down, I stood the collage up against a tall object and looked to see if it needed new pieces (HINT: it’s good to see your work vertical after you’ve worked on it flat and horizontal).
I liked what I saw (lucky me) and was amazed at how much the collage looked like a drawing. That was not my plan. How did that happen? (See below)
PERSISTENCE OF MEMORY
I’ve been thinking a lot about two recent exhibitions at the Museum of Modern Art (MoMA) in NYC. The first show was titled On Line: Drawing Through the Twentieth Century (November 21, 2010-February 7, 2011), and the second show is titled Picasso: Guitars 1912-1914 (Feb. 13 – June 6, 2011).
I wrote about the two exhibitions – Drawing is Collage/Collage is Drawing – commenting that Picasso’s collages looked more dimensional in the second exhibition.
Images online and images in the very excellent exhibition catalog (Picassos Guitars 1912-1914) never do justice to the works. It’s worth a trip to NYC before the show closes June 6th to see this exhibition in person at the Museum of Modern Art.
Picasso’s papery guitars were revolutionary in concept in 1912 and the collages were experimental departures from the traditional picture plane. Picasso was blazing a trail.
Holland Cotter reviewed the exhibition on February 10, 2011 in The NY Times (Picasso Guitars: Art & Design: When Picasso Changed His Tune). He wrote: Today, nearly a century on, it’s hard to grasp how disturbing such work was to some at the time…It was perceived as a slap in the face to beauty, idealism and decorum, proof of European culture on the slide…People got angry.
I was amazed to see Picasso used straight pins. The papers are pierced and puckered. You can see shadows at the edges of the papers that are pinned. The image above (Musical Score and Guitar, 1913) is cut, pasted and pinned colored paper, sheet music, and paper and charcoal on colored papers, 15 3/4 x 18 7/8 inches.
The image above, an installation view with 2 people looking at Picasso’s Bar Table with Guitar (1913), cut and pinned wallpaper and colored paper and chalk on colored paper 24 3/8 x 15 3/8 inches shows how the papers are puckered.
Why did Picasso use pins? Pins allowed him to position and reposition works in progress.
Memories stick (like pins), and influence you, and you may not even be aware of it until you step back and see how you are influenced.
Lines are everywhere. I see TV commercials with lines in motion. Today’s skyline was filled with lines. I didn’t plan in advance, but my mostly black and white collage is on a green background (a page from a magazine I painted with a mix of green acrylic paint).
The green is the color of early spring grass and buds, and a harbinger of warm weather to come. It seemed a perfect fit as we transition from winter to spring.
If you want, see more drawings with collage – 16 works titled Strata – at my website.
I hope you will add comments. Thank you for sharing your thoughts and ideas.