"The Question"

Steven Specht here...
I finished this piece today. It was mostly finished for a while (the two holes with the man and woman). I knew I was going to put a third "hole" in it, but wasn't sure about what to do after that. I decided on the skeleton transfer. It's always a bit nerve-wracking for a collagist like me to place a transfer, because I never know exactly what it's going to look like until it is placed (and then it's too late to do something else). I like to have a little more control. But I think it turned out well. Then I thought I needed something in the upper left hand quadrant of the piece for "balance". I tried Saturn, but it was too dark (and thus not recessive enough). Then I looked at the piece matted and in its antique frame and I decided that although the piece isn't "balanced" per se, it "opens up" on the left and this actually enhances the "feel" of the piece. Glad to have this piece done (it's been around for a while) and happy to be fairly satisfied with it. BTW, it's 11.5" x 6". The question is... what is "The Question"? Enjoy.

"Smoke 'em if you got 'em!"

Steven Specht here...
Here's my latest piece (9.5 x 9.5"). I haven't been in the studio for a couple weeks because I have been busy with the beginning of a new semester and was at a conference in Louisville last week (that deserves its own post). Anyway, I'm pleased with this piece. In a way, it's the "opposite" of many of my other work in which I place color accents within a black-and-white (or muted palette). This piece features a colorful background with black-and-white accents. The "guys" were each individually cut and meticulously placed (that's what took the longest in this composition... by far). Enjoy!

Death Book of Beth Watson

Last semester in my Design Class at SUNY, I gave the students an altered book final. It's the second time I have given an altered book as the final, and I have been really psyched with the response I get from the students. The creativity and dedication to the project really shows in the books that are turned in.
One student of mine, Beth Watson, used Death as her theme and featured crows throughout the book. I'm such a crow fan and I  loved the idea and the way the book turned out so I offered to do a few pages in it over the holiday break.

The great colors and style in this piece really captures the mood of this book. 

Beth used a sketched tree with haunting crows as part of her theme, creating unity throughout her book.

The first spread I did in her book.  everybody - valley of death

 The second spread I did in her book.  black fur nest

RIP Mike Kelley

"GO: One thing that the Internet seems to be doing is eroding the idea of copyright and originality. People are just taking bits of things and using them in a very free way.

MK: That's great. And the corporate entertainment industry is trying to stop it from happening. Think about it: Andy Warhol could not have a career now. He would be sued every two seconds.

GO: It's given a lot of work to the lawyers.

MK: Copyright laws are terrible for culture. It's illegal to respond to the imagery that surrounds you; you're bombarded every minute of the day with mass-media sludge. It should be the opposite: Everybody should have to respond to it. This is what should be taught in the public school system.
William S. Burroughs should be a major role model: All students should be given tape recorders and cameras to constantly record the gray veil that surrounds them, so that they can recognize that it's even there-and manipulate it. Most people are not aware of the white noise they exist in. Tape recording and photography allowed people to become aware of what was invisible to them for the first time. We're surrounded by invisibility. That's what I think art can do-make things visible."

Source:

http://www.interviewmagazine.com/art/mike-kelley/

David Ball at Argot and Ochre Opens Tomorrow Nite

It was good of Daniel Rolnik to send me info about this artist. He is new to  me, as most are, since lately I am hibernating. I took a look at his site and was immediately moved by the deep colors. They are intense, and they grip the page to the very edges.  For a northerner like me engulfed in a monotone winter, these pieces were like medicine.
David was kind enough to send me this:

Tumult - 2011

Most of the work appears to be done mixed media, and then texture is added to compliment his initial thought. I love the way this makes the work seem half fantasy and half real. It's so difficult to achieve this, let me assure you, and he does it well.

"Pilgrim", David Ball ©2011. All Rights Reserved, Mixed Media on Panel. 24"x36" Sold/ Private Collection

I was scrolling along, and got color drunk. And then. I saw these. Fabulous. Pieces. That just moved me beyond the beyond. It's the winter palette. MOST exquisite. I loved this piece and the muted colors. His work is really cool. Personally, I think it reeks of masculinity. And that's a good thing ... since I usually am engulfed in my own female-ness. (does that sound sexist? I don't mean it so)

"Split", David Ball ©2011. All Rights Reserved. Mixed Media on Paper. 22" x 30"

Lucky for you, west coast person, since you can see this stuff up close and personal at 111 Minna in San Fran at the Harum Scarum exhibit. This opens tomorrow nite!

Where I was, where I am

The path my collage work has taken throughout my artist life has been a strange one. At first, I was quite enamored with DADA and the accidental placement of odd objects against one another.
My work was blunt and simple and full of Hannah Hoch love.

As time went on, I discovered altered books, round robins and I went thru the Victorian phase. I used a lot of period imagery and gained skill at mixing my own artwork with others.

Victoriana

An intense period followed this, when I was fresh out of my divorce. I went into a deep exploration of layered textures, using anyting and everything that I could get my hands on and leaning less and less on my own artwork.

Layerama

Since the David Hochbaum studio visit I have gone an entirely different route. I have used less and less external ephemera and have begun to fill in the space on my own. There are less works, but they seem more personal and meaningful.

Snow Moon -  2012

And so it was with great interest as I encountered the work of David Ball. Such rich canvases, filled with color...it was obviously fantasy...but with touches of realism in the collage elements. These pieces are speaking to me, although my style is vastly different from his. I want to honor him with his own post, and so that shall be.

Collage Centennial

CALL FOR WORKS

Collage/Assemblage Centennial 
1912 - 2012

CALL FOR WORKS: DEADLINE February 15, 2012.  PLEASE REPOST 

 The modern use of collage techniques is consider to have begin in 1912 with works by Pablo Picasso (such as shown). Constructive art as been growing ever since. To celebrate this 100 year anniversary the International Museum of Collage, Assemblage and Construction  (collagemuseum.com) would like to invite you to contribute one or more modest sized hand-made collages, assemblages, box assemblages or constructions* representative of your working style for a large (hopefully overwhelming) exhibition that will be held in 2012. A catalog of the exhibition will be created and made available to contributors at actual cost. A PDF version of the catalog will be available to contributors for free.   

No Fees, No jury, all works accepted and exhibited, none returned. Your contribution will become an important part of the Museum’s permanent collection.  
What is needed.  

Please send one or more collages, assemblages, box assemblages or constructions of modest size (you decide what is ‘modest’) that is ready to hang on a wall or exhibit on a pedestal or shelf. Works on paper should be framed if possible or, at a minimum, send in a clear resealable polypropylene bag. Unframed works will be hung together like an installation. 

Please send one of the museum’s Deed of Gift forms filled in clearly and a photo of the work. To download a copy see:http://ontologicalmuseum.org/exhibitions.html

On the back or bottom of the work please be sure to include your name and contact information as well as an email address and your website if you have one.

In addition, please send by email:

o       Additionally, send a digital (1000-1200 pixels on the long side) of the work by email with description and contact information for the web page that will be created for the exhibition.

o       A thoughtful statement expressing your views about collage, assemblage and/or constructive art as a contemporary form of art making and/or discuss the history of this genre and why it is interesting to you. These statements will be part of the catalog. Imagine that you are primarily speaking to the other artists who will be participating.

Send to

Collage Centennial

Cecil Touchon

135 COUNTRY CENTER DR STE F # 10
PAGOSA SPRINGS, CO 81147-8958

info@collagemuseum.com

* photo montage and digital montage will also be acceptable if printed in high definition/quality on archival material, unique and signed. However, hand made works are preferred.

Stop SOPA!

Star Wolves

I am going to try to explain the elation that occurs within an artist as she completes a piece of work that truly fits the vision that she had prior to creation. Well, no I guess that's almost impossible. How about I share the process? (remember! It's all about the process!)
This piece was in my mind all month. I have been really super busy, who isn't these days, and I have had to get really hard core about finding the time to settle into some collage work. I had an idea of what I wanted to do with this particular subject, the Wolf Moon. According to the Farmers Almanac's page about the moons, which is what I am using for guidance in this series, the wolf moon is kind of scary.
I quote:

"• Full Wolf Moon – January Amid the cold and deep snows of midwinter, the wolf packs howled hungrily outside Indian villages. Thus, the name for January’s full Moon."


Within these pieces I am using a specific motif with a rectangle box with a semi circle top. I pictured these wolves, pressing in on an Indian long house....and the idea began to gel. You know how I am working to supply most of the ephemera in these pieces with my own stuff, and I can assure you I have taken no pictures of wolves lately. Therefore, the only answer was to go ahead and paint the wolves. Scary. I am usually not willing to invest the time necessary to do this type of thing, but when you are able to only do one good collage a week, it seems important to pull out all the stops!

They began as a sketch in pencil. I really like this phase of the work. It's ummmmm...Leonardo-ish!

sketchy wolves

I don't know how I did it, but I managed to portray these guys in paint with success. They ARE hungry looking!
The next hurdle was what to do about the figures. I have been going thru quite a bit of deliberation and trauma over the figures lately. I don't want to just cut and paste people in. I don't want to necessarily have a figure in every piece, either. It's been a slight dilemma. I was tempted to use a family picture, with several people, not just a girl. But none seemed to fit as nicely as this pic. I decided upon this little girl...she's from the 50's I think....(I was a bit dismayed about not using an Indian village, but I am not sticking that tight to the theme.) She has the right look on her face, a wincing look. She's entering her house with some fear...and that's what I needed. The whole thing started then and there to remind me of the Little Red Riding Hood tale, and I was very happy my little girl had a hood. I was tempted to paint her coat red but I felt that leaving it gray would allow you to fill in these blanks--or not...  The wolf in the story was hungry, and the parallel fit so nicely, so I went with this idea. I like the fact that 2 different themes will fit the work. Sweet.
The pictures of the hawthorn berries in this piece were taken at night in my yard a few weeks ago with my Lomo Colorsplash camera that I have had for at least 6 years or so. It's a very touchy little manual camera, but I love the effect it produces and nothing matches it. I chose these photos to use prior to painting this piece, and so the color scheme was already set. The first thing people have said to me when seeing this piece is: "love the colors". In teaching design at SUNY Cobleskill, we spent time on colors and the vibration that occurs in the eye when using complementary colors. This is demonstrated well in this collage.
I feel good about this piece. It works for me, matches what I had in mind prior to execution, and that my friends, is a high like no other. Even if I cannot explain it.
And so, without further adieu, I share with you a piece that I am quite proud of.
The Star Wolves.

Star Wolves

Dear Anonymous

I don't know who you are, but I am grateful for you comment on my last post. Thank you so much for taking the time to express your feelings on this. It was because of you that this final piece exists.
I was dismayed over the placement of the figure in the Long Nights Moon collage and I really was going to just shelve it and move on.

the bad girl 

When I read the heartfelt comment that was posted by "anonymous" I was inspired to go back and finish up this piece. I ended up finding the most perfect head (with a fairly decent look on her face!). I have to tell you how DADA this whole process is, in that this head was found, cut as is, in my pile. It was a reject from another time, but matched this hole *perfectly*. It was meant to be. After this collage surgery, I proceeded to gold leaf it. I have not used gold leaf before, and it's quite the mess the way I do it. But then again, I am an utter slob whilst I am creating. (right Steven?)

the good girl

As I brushed off excess gold leaf, it spread all over the table and adhered to gluey edges in the work. It ended up being okay, almost like a golden moon glow, but I will be careful in the future. (I apologize for the not so clear pic. This was taken with my new iphone, which I am experimenting with. Usually I scan these...)

final, with gold leaf

Note to myself: I used Rhoplex on this piece. It was a pain in the arse. It was this glue that ruined the girls head to begin with...and it also was the cause of the gold leaf sticking to all those edges. Using Jade will eliminate this problem. Only us Rhoplex on the thinnest of papers, and then put it away!

Long NIghts Moon

What a struggle this piece has been! And although I am posting it, I am not quite satisfied with the result. The girls head is bugging me, and I tried to camoflage her by hiding her behind some oak branches, but .....??? It is what it is.

This is #2 in the series of the monthly moons...using the medieval Book of Hours as my inspiration, as well as the naming of the moons by the Iroquois. This moon is the longest of the year. I tried to convey that darker than dark moon rising feeling. The bottom piece of blue stuff...they are cyanotypes. I got some sun paper and took oak leaves from a tree in my yard, that also supplied the Lomo colorsplash blue filtered oaks in the foreground.

I have some gold leaf. I am contemplating putting the medieval calendar style dial on the moon, and putting some gold leaf in the background, however that face is bugging me, and makes me think I had best move on to other works.

Happy New Year from upstate NY. At this point, the days are only getting longer and we can celebrate the onset of a new season.

Long Nights Moon

Steve Specht here...
Just finished this one today. Thought it was a propos for the upcoming New Year's Eve celebration. Happy New Year everyone!!!

like and love

Steve Specht here...
I work quite often on my collages. I really enjoy the process, so why not. In fact, I think I am officially obsessed with collage. I really enjoy looking for elements; I really enjoy looking at others' collages; I think about my on-going collage projects pretty regularly; I really enjoy talking to other people (who are interested) about art in general and my collage efforts specifically; I even occasionally finish a piece here and there ;-) Most of the collages I create I "like" (which is probably pretty natural); but others I create I "REALLY like" (or "love"). I was very excited yesterday (Christmas eve day) to finally complete, mat and frame a piece I've been working on for a couple weeks. This is a piece I think I "love". I show it here from collage "surgery" to finished and framed. It's entitled "I began to experience the effects at around 3000" (8" x 6"). Enjoy!

A must see—David Hochbaum in NYC

I am happy to share some info from David Hochbaum about an upcoming show in NYC. I have never been to one of his shows, but I am excited to report that I shall be going down for this one.


 He says: 

Next To The Sea

I am very pleased to be invited by the lovely Lillan Munch to participate in a show at her gallery, which opens this January, 2012.
The show is titled "Next To The Sea". It is a 3person show and the first extensive showing I will be doing in NYC in 5 years. I am thrilled to be premiering a few of my new large format Polaroids. I will also have a few new photo constructions as well as an installation of 111 ships. I am very excited to be able to show on my home turf and I really hope, if you are in the NYC area, you are able to come and see the exhibit while it is up. I have here a few sneak peek shots of works in progress.And here is the info for the show:
Opening Reception Sunday, January 8, 5-8 pm
“Next To The Sea”

Pierre Botardo
David Hochbaum
Jacob Dahlstrup Jensen

Opening Reception Sunday January 8, 5-8 pm
MUNCH GALLERY
245 Broome Street
New York, NY 10002

The show runs January 8 - February 5, 2012

nothing to do with collage

Paper mache ornaments that I have been making for the family. Hence, the absence of personal collage related posts!

Beaver Moon 3d

I had this piece going on for at least a month. It still isn't exactly complete, however it is in a state to be shown. I am moving on to the next moon now, (the long nights moon!) and the details on this piece can be finished later on in spare time (ha. what is that?)

in progress: everything is laid in place. nothing is glued down

I thought it was interesting to see how things change as I work on them. The above photo was taken when I was still defining this piece, prior to my inner fight about putting figures in. I fought with myself the whole month over whether or not to include a person. Somewhere inside I wanted to emulate the flat version I did, and I searched for a figure to put in the center. In the end, I went with 2 ladies in white, who seem to be emerging from the background.

almost finished piece

The part you see is almost done. I intend to extend the picture out onto the sides of this dresser drawer. I am working with different methods of drawing the viewer in. This piece gets no gimmicky LED lights!!

Work in Progress

I've been busy. Real busy. It's a good month when I have several fires that are lit at once!

This piece is as of yet untitled. It's a 3d piece, and I am working with  mirrors and lights.

The idea is to have the building extend out from the substrate....and be open on the bottom and top, allowing the curious ones to peak inside. I have done collage work on both the inside and outside of the building. The only way you can see the inside work is by the reflection in the mirror. It's hard to explain. Let me show you.

An overall view, with crappy lighting! 

The base is a thick 1" piece of gnarly wood that I found in the garage. I painted it white, and then added accents with GOLDEN interference paint. This worked really well, and when you look at it in person, it's pearly. I started this piece before my wedding and ocean honeymoon, so I was in a shell mood and actually picked apart vintage shell earrings in order to create the weeds and front lawn.

A closeup of the right side with better lighting, you can almost see the pearly effect.

The building was made from digital photos, which I blew up and afterwards used colored pencil in order to bring out the pearly colors. Unfortunately with these crappy fotos, you can't see the effect.

Underneath the building rests the mirror. And a hole.

The mirror will be attached to the building and it becomes one unit that I will eventually paste down on the wood. That little hole? I will house the LED light which will shine thru that odd looking piece of vintage jewelry, filtered light...In the back of the wood I have to use the router to create a hole that will house the battery pack and switch for the LED. It will poke thru the hole and I will then glue the jewelry above the hole to create the effect. This will help in 2 ways. First, you will be able to see in the mirror better, if you choose to try this. Also, it will allow the real glass windows that I put in the building to shine thru. It's an eerie effect, with the strange glow of LED coming thru it. (the windows were actually old mirrors, that I removed most of the frosting on the back.)

The people living inside only revealed thru the mirror once this is attached.

Here's the couple that live inside....an HP box was the substrate, and these tabs will get glued under the mirror.

detail of upcycled jewelry that I tore apart as greenery

Everything on this is complete, art-wise. I just have to get my sweet husband to help me with the router part for the LED and I guess I shall have to name this piece at that point!

holiday treat

Steve Specht here...
Here's one I'm entitling "In the Fishbowl" (5 x 7"). It's a bit more colorful than my pieces tend to be; but I like it. It seems to have a holiday feel to it, I think. Enjoy!

It's Not Always Black-and-White

Steve Specht here...
Just wanted to let folks know that one of my collages (shown here) will be part of the juried exhibit at the Arkell Museum/Canajoharie Library (glad that a collage will be represented as part of the group... maybe there will be more). The opening reception is being held in conjunction with Elves Night in the village next Friday (Dec. 2nd). Enjoy!

smallest yet

Steve Specht here...
Have I mentioned how nice it is to be back in the studio? I love it! Ideas seem to be flowing freely. The "problem" is that I now have about 6 actual projects "in the works". That can sometimes be a bit distracting for a monkeybrain like me. Last night while I was juggling the ongoing projects, I put together a few remnants that I had laying around. I used a small aperture mat and "found" the germ for lovely this composition. I tacked it down this morning and will frame it. Although I made a couple of lapel pins a while ago, this is the smallest of my "real" collages yet. I tend to like the small format collages. It's only 2.75 x 2.75 inches (7 X 7 cm). Enjoy!