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.
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.
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.
January 24, 2013
Next week I will teach a workshop in paper collage at Iona Collage in New Rochelle, NY.
I will be a substitute for their regular teacher, and I want the class project to be fun, quick and easy to do – and engage them in making a collage right there.
I will provide each student with a 6 x 9 inch exhibition postcard for them to work on.
They will use magazines for source media, and work with scissors and glue sticks to cut and paste papers. I will show sample postcards with collage that I prepare for them.
I will talk about the history of collage (and will not talk too much) while they are working on their project.
Pablo Picasso and Georges Braque are credited with the invention of modern collage (1912-1914). The English word collage comes from the French words papiers colle (glued paper), a term coined by the Cubists. People who paste paper may also paste photos, fabric and 3D materials like wood, plastic, metal etc.
Many books on contemporary art describe COLLAGE as a medium of surface planes that explore sub-surfaces. Many books also discuss collage as a medium that comments on waste and rampant consumer consumption. A lot of collage is about politics and identity. It’s always about narrative and media.
Basically, I want to say that there is so much potential collage media out there to recycle into art. I think the idea of recycling and consumer consumption will appeal to this age demographic.
How about creating cards with collage?
I think we all have too much paper in our lives. But, I also think every piece of junk mail is a potential substrate (base) for collage, or can serve as paper to cut and paste onto something else.
Do you get postcard announcements for consumer goods in the mail? Do you get glossy multi-page home goods and fashion catalogs in the mail? It’s all potential collage media.
In my collage classes, I talk about 3Rs – reuse, repurpose and recycle.
What about the holiday cards you received this year? Don’t throw them out. Recycle the castaways and use collage to create your own work of art. Cover the base with a little collage or cover it with a lot (but leave a little of the original card peeking through) to show the juxtaposition of the old with the new media.
Free Paper Bonanza
Last year I was gallery hopping in Chelsea (NYC). It was the closing day for the exhibition at one gallery, and I noticed a pile of really good, heavy weight exhibition announcement cards sitting on top of the counter where the gallery people sit. The cards were an elegant graphic (text) printed on lovely white stock.
As soon as I found out it was the last day for the exhibition, I asked if I could have the cards. They said yes.
Theme and Variation
I like the idea of theme and variation. I start with the same base image. It can be an exhibition postcard (from my exhibitions) or a greeting card I’ve reproduced from my collage paintings.
Do you make your own cards? Do you reproduce your images into cards? Use the cards as a base for multiple collages. The new little collages can become the inspiration for new large works.
All the images included in this post are my tiny collages made with magazine papers on top of my printed 2013 New Years card. The card is a reproduction of a large painted paper collage I did last year. The card is small, about 4×6 inches. I added up to 10 collage pieces (very tiny pieces) per card. The imagery on the original was very geometric, so I planned to use rounded shapes and circular lines as a counter-balance to the straight edges. I did about 20 collage on cards and sent the cards to people who send me hand-made cards.
I found a very interesting interview online titled “What’s New With Collage?” by Hrag Vartanian who interviewed Charles Wilkin at Hyperallergic.com (Oct. 25, 2011)
Wilkin curated an exhibition in Williamsburg, Brooklyn (NY) titled All That Remains, at the Picture Farm Gallery.
Vartanian asked: “What do you think is unique about collage today, if anything?”
Wilkin said: “One of the exciting things about collage is its primary use of discarded paper media which ultimately keeps it in motion, constantly changing like a chameleon. A quick look at the diversity of styles, concepts and technique found in contemporary collage proves it’s moved well beyond simply cut paper and glue.
He added: “I suspect many artists find it alluring for not only its immediacy but its unique and inherent nature to reinvent the familiar into something mysteriously new.”
Thanks for reading. Please let me know how you recycle papers into art with collage.
August 16, 2012
What Is All the Hullaballoo About?
I am participating with the Hullaballoo Collective in a group exhibition in Chelsea in NYC this summer.
Hullaballoo Collective is a diverse group of artists who first came together through social media. We presented a salon style exhibition at the Fountain Art Fair (March 9-11, 2012) during NY Art Week at the 69th Regiment Armory at 25th Street and Lexington Ave. We say “Hullaballoo utilizes collective strength and intrepid individuality. Outsider, emerging, veteran; we are thinkers, and we are makers. We are artists. We are part of the egalitarian zeitgeist, the energy that underlies the new century and that uses new tools to reach broad audiences.”
The view below is a peek into the 2nd Hullaballoo art show.
JOIE de VIVRE
The exhibition is titled JOIE de VIVRE (August 2-19, 2012) and is installed at PSPS Paul Seftel Project Space , 548 W 28 St., NYC 10001, 3rd floor.
The opening reception was August 2, 6-9pm. We say: “Seeking Joie de Vivre is a theme in our daily lives as visual artists. Embracing joy, inclusiveness, and unity, while respecting artistic diversity is our collective “work in progress.” The viewer is invited to seek connections, associations, unexpected dialogues and individual discoveries in this artistic diversity.”
The image below is a view of the reception.
Thanks to Paul Seftel for including the Hullaballoo Collective in his gallery exhibition calendar.
Thanks to Bernard Klevickas for being the point man in pulling this show together. Thanks to the many others in the Collective who were important to the success of the show.
Thanks to Marianne Barcellona for taking the images in this post (except for the reception, taken by Phil and Colleen .
Thanks to Bernard – again – for asking me to be the lead person for the installation. I had a great team of volunteers to help. Everyone thinks the show is a wonderful success.
Following are images that show the installation.
THE FIRST WORKS SELECTED
When you install a large group exhibition, you have to look at all the works that will be included before any work is placed or hung. This exhibition included many large sculptures that would dominate the central floor space. The works hung on the walls had to be visible beyond the sculptures, and every work in the show had to be integrated into the whole ensemble.
I saw the yellow bee and thought “he” was very inviting and needed to be seen by everyone as soon as they stepped into the gallery. The painting was installed first and the large free-standing sculpture in painted metal was placed in its space in relation to the art hung on the first wall. The mirror sculpture arrived later.
The image below is a close up view of the works hung with the first painting. We worked hard to find the right works to compliment the bee. The next image below is a view around the corner. Notice how the sculpture with the mirror reflects the art works on the opposite wall.
We moved pieces one or more times. Nothing was fixed in it’s place until the last work was installed.
The image below shows a wall with large works. Some are hung very high. The following image shows Bernard standing in the gallery. I remember he was most of the time balancing on a ladder, reaching up to install a heavy or a large work.
The following image shows the art that the public sees from the hallway. We selected a large work with people because we felt it would draw people in. Notice how diverse the installation is (definitely salon style). The next image shows a close up view of 3 walls as you enter the gallery. Notice all the texture. Notice the yellow sculpture installed on the floor.
The image above is a front view of the entry wall. The blue dimensional work was moved from another wall. It overhangs my own 2 collage paintings (titled Musical Notes 1 and 2). There’s a lot of work in this tiny alcove space, but it all works well together.
As the show was installed, I checked out sight lines. I wanted to see how each work looked in relation to other works that are nearby and across on other walls. When I install art, I want to direct the viewer’s eye (and the viewer should not even be aware of it). I want to keep the eye in motion – moving around the space like a dance.
The images that follow include a view from inside the office into the main gallery space. Notice the hanging sculpture in front of the glass wall. The next image shows the installation of works on the last wall – a very delicate wall that we were asked not to put too many nail holes into. And the final image is the guest book with very creative signatures. See is you can read who’s signed our book.
I regret I didn’t know all the names of the artists whose work you’ve seen in this post. Following are the names of everyone included in the Hullaballoo Collective JOIE de VIVRE exhibition:
Ellen Alt, Cecilia André, Sharon Appel, Marianne Barcellona, Fran Beallor, Richard Brachman, Gulsen Calik, Pamela Casper, Ursula Clark, Barbara Coleman, Yvette Cohen, Colleen Deery, Molly DiGrazia, John Erianne, Patricia Fabricant, Robin Feld, Elaine Forrest, Robin Gaynes-Bachman, Beth Giacummo, Theresa Greenberg, Norma Greenwood, Bette Klegon Halby, Sarah Haviland, Aimee Hertog, Eileen Hoffman, Sandra Indig, JORDAN!™, Robin M Jordan, Bernard Klevickas, Melissa Kraft, Liz-N-Val, Barbara Lubliner, Janie Milstein, Adrienne Moumin, Nancy Nikkal, CJ Nye, Nancy Oliveri, Walter O’Neill, Katherine Papadopoulos, Cade Pemberton, Jeffrey Allen Price, Elisa Pritzker, Peggi Pugh, Jacqueline Rada, Julie Scott, Joyce Silver, Regina Silvers, Cigdem Tankut, Linda Tharp, Shira Toren, Grazia Vita
Thank you for your comments about this wonderful show.
May 31, 2012
I went to see contemporary rugs and talk with people in the trade about how rugs are made, because people tell me my collage paintings can be interpreted as rugs. Take a look at the geometric images at my website and tell me if you agree they can be room size rugs.
WALL INSTALLATION and THE COLOR GREEN
I was amazed to see a dramatic wall installation in wood and paint and learn about works by an artist who calls himself a collage artist in wood.
The image above shows the installation and the artist’s mother and the scale of the wall collage.
I noticed the color from a distance, then walked closer to see the texture in the natural wood. The paint is a strong crayon green color. The artist is not afraid of color.
Peter Glassford has fine arts degrees (BFA, 1986, 1991) from the University of Texas at Austin.
The image above shows the artist sitting in front of a wood collage that is a folding screen painted white.
Peter Glassford says his wood collage is a fusion of his sculptural past and his business present. He makes unique furniture and he makes art.
He says he uses wood cuttings from his fine furniture factory in Mexico and creates wall installation art.
He says the repurposing closes the creative cycle and brings him back to the studio.
Sometimes he adds color.
The work above is titled Picadillo Gems (2010). The artists is on the ladder, which shows you how large this work is. It’s installed at the Watts Law Collection, San Antonio, TX.
The above image is titled Collage Tiles.
Glassford works with exotic woods – one is called parota and the other is rosa morada.
Rosa Morada comes from India, Mexico, Honduras and Asia. It is sometimes called rosewood. Parota is similar to teak wood and grows in jungles in Mexico. Read more…
A LITTLE BIT OF ART HISTORY
I spoke with the artist and mentioned the sculptor Louise Nevelson (1899 – 1988, American, born in Czarist Russia).
Because he works in wood, I thought about her work in wood. Wood was the basis for the comparison. But they work in different woods.
Nevelson is famous for wood relief sculpture consisting of multiple boxes and compartments that include found objects from chair legs to staircase handrails, spindles, etc. Read more…
The image above is Nevelson’s wall assemblage in wood, painted black.
Some of Nevelson’s works are room size. She described her sculpture as “environments.” She is considered one of the most important figures in 20th-century American sculpture.
The image above by Louise Nevelson is titled City Sunscape.
FOUND ELEMENTS vs DISCARDED ELEMENTS vs. CHOSEN ELEMENTS
Peter Glassford assumed I was comparing what he calls wall collage to Louise Nevelson’s relief sculpture. He didn’t agree with the comparison or the premise.
He said Nevelson’s sculptures included found elements that she assembled.
He said his sculptures didn’t include found elements like Nevelson’s, but were made with discarded elements – cut-offs left over from the furniture he manufactures in Mexico.
He said Nevelson typically painted her sculptures in an all-over monochromatic white or black.
He said he adds painted color (selectively) in the process as the work is installed.
Artists are so specific in the ways they describe their studio practice.
In my last post, titled Choice Collage, I wrote about the artist John Chamberlain who created metal sculpture and said he was a collage artist in metal. His retrospective exhibition at the Guggenheim Museum in NYC closed May 13, 2012.
Chamberlain said he chose the pieces for his metal collages. Susan Davidson, who curated the Guggenheim Museum show, emphasized choice in Chamberlain’s work.
What is the difference between selecting and choosing and finding? I think everything is about choice.
I wonder if Louise Nevelson ever called herself a collage artist.
Next year the International Contemporary Furniture Fair will be held Saturday – Tuesday, May 18-21, 2013. Exhibition booths include contemporary furniture, seating, carpet and flooring, lighting, outdoor furniture, wall coverings, accessories, textiles and more. Read more…
All image of work by Peter Glassford are from his website (Projects).
All images of work by Louise Nevelson are courtesy the Internet.
May 3, 2012
In my last post, I wrote about the artist Jean (Hans) Arp. He made collage according to the laws of chance. He dropped squares of paper onto paper and gave the works titles like Squares Arranged According to the Laws of Chance. The image below is made with cut and pasted papers, ink and bronze paint (1917), image courtesy of the Museum of Modern Art, New York, NY.
Arp was a founding member of the Dada movement that started in Zurich, Switzerland in 1916. A lot of Dada was about the laws of chance. The movement started as a political protest and dissipated after the close of World War 1. Many of the artists (Jean Arp, Kurt Schwitters, and Max Ernst) left protest for studio practice and went on to build stellar art careers.
I am fascinated by Dada. I think it’s resurgent, and think a lot of contemporary art is inspired by Dada.
Dada and Marcel Duchamp
Dada is still with us because of the artist Marcel Duchamp.
Duchamp was not a member of the Dadaist movement (he resisted joining groups). But, he was a natural Dadaist all his life.
The Bride and the Bachelors
Read Calvin Tomkins book The Bride and the Bachelors: Five Masters of the Avant-Garde (Duchamp, Tinguely, Cage, Rauschenberg, Cunningham). I bought the paperback, first published in 1965. The first chapter is about Marcel Duchamp (French, 1887-1968).
Duchamp said: “Why worry about art when life is what matters…Do unto others as they would wish – but with more imagination.”
Duchamp invented the term readymade – see the image below of “Bicycle Wheel” (1913/1964)
Calvin Tomkins: Unlike the Surrealist objet trouve – a common object chosen for its accidental aesthetic value, the readymade has no aesthetic value whatsoever (according to Duchamp). Tomkins adds: therefore, it functions in a sense as a derisive comment on all art traditions and dogmas.
Read more about Duchamp at the Centre Pompidou (Paris, France) website.
Every art movement that uses everyday objects today can thank Duchamp for leading the way.
One of Duchamp’s most famous readymades was titled “Fountain” – a porcelain urinal turned upside down with the signature R. Mutt.
Duchamp (and Joseph Stella) sent the sculpture to the 1917 exhibition of the Society of Independent Artists at the NYC Armory show. Duchamp was a founding member of the Society. The work created a furor. The hanging committee refused to exhibit the readymade sculpture.
Calvin Tomkins wrote: Duchamp commented slyly: The only works of art in America are her plumbing and her bridges.
Fountain Art Fair, New York 2012
Flash Forward to 2012 and the Fountain Art Fair (March 9-11) at the 69th Regiment Armory at Lexington Ave. and 25th Street during New York Art Week.
This is the same 69th Regiment Armory where Marcel Duchamp famously hung his “Nude Descending a Staircase in 1913 (showing alongside contemporary artists like Edgar Degas, Edvard Munch and Pablo Picasso) – Duchamp would later secure a place in art history with his readymade (urinal) titled FOUNTAIN (1917).
In March, I participated with a group of 72 artists in a salon-style installation at the Fountain Art Fair with a group called Hullaballoo Collective – at booth E212. The collective was organized by Bernard Klevikas and several other artists who live and work in Brooklyn, NY. I exhibited 2 collages.
Here’s a link to the BlouinArtInfo blog with the title: Fountain Artists Honor Armory History with Playful Nods to Duchamp…
One Hullaballoo member made the connection from the Fountain Art Fair to Marcel Duchamp, exhibited a work titled Idol Inaction, and arrived at the opening reception wearing a Duchamp jersey. See image of Brian Goings below at the Hullaballoo booth.
Bernard Klevickas wrote the Hullaballoo statement:
Hullaballoo Collective is a diverse group of artists who have come together through social media to present a salon style exhibition at the Fountain Art Fair… We are artists. We are part of the egalitarian zeitgeist, the energy that underlies the new century and that uses new tools to reach broad audiences. There’s a Hullaballoo website. There was a lot of buzz. The website shows works by the artists in the Collective.
The image below is my work, titled Recycle 1, collage, assorted papers recycled from old monoprints, 22×18 inches, cut and assembled in random order.
I don’t know if this year’s downtown Armory show was different from recent years. I’ve read reviews that say the show has changed and is getting upscale. I was expecting the space to be raw and unfinished and the art to be young and edgy.
According to Fountain organizers, this year’s show attracted over 10,000 visitors in 3 days. On opening night, there was a line around the block to get in – and we did get art critics Jerry Salz and Roberta Smith at our booth. Read about the record attendance…
WHAT WOULD DUCHAMP SAY?
What would Duchamp say? I know he disdained the confluence of art and commerce (but managed very well – thank you!). some art critics say he gave up art for chess, but his readymades were re-made in the mid-20th century, shown to great fanfare, and his work is now known around the world.
I bet he would love the idea of social media and the possibilities of the Internet.
What do you think Duchamp would do about Social Media?