4/04/2008

Meet Miss Adjust-O-Matic


front view of Adjust-O-Matic

This is a cardboard dressform. Vintage, found it in an antique mall in Little Falls, NY for $20. Had to have it! She will become the Celestial Maiden. I have the need to document my faith in the universe, the planets. I will be using red, black and tan as a color palette for this project. She will have many constellations on her, and all of them are of my own creation--deer, squirrel, fox.... I like the constellations that we use, but they are all about myths and things I do not directly relate to. I have my own myths, my own ideas, and my own kinship with various animals. I think about drawing them on the stars and making my own celestial beings...so in this project I will do just that.
She's a bit fragile, the cardboard is slightly brittle. I am working on sealing her before I begin the artwork portion. I have a test in the corner using Golden Semi-Gloss medium. Tonite I will see if this will work. I have inserted a bushel basket inside of her torso to help keep her rounded. I will be attaching it to her via brass grommets. You will be seeing and hearing more about this girl. She will take me a couple of months to complete!

looking inside from the top at the bottom of the bushel basket

She is my second attempt at collage sculpture. I did another one 2 summers ago, and her name was Iron Maiden. She was completely constructed, however and she did not begin her life as a dressform. I used paper tape, and taped up a 14-year old with perky tits. Then I filled it up with foam insulation, and attached many other things to make this norse Iron Maiden. You can't really see all the art involved in this pic, but the cool lit top shows up nicely, anyhow.

Sketches


sketch
Originally uploaded by misphit
Been working on a new collaged sculpture. The celestial maiden.
Doing sketches to hone up my skills. These guys will need more work, I am afraid!

4/03/2008

Tracking Invisible Cities


I am really into David Hochbaum's art...and I was poking around his packed-full website for some new inspiration. I discovered he his having a show @ Strychnin:London this month. I wish I could be there...sob sob. I am posting this to encourage all you collage heads to go and check this out. Represent yo'self!
His technique is involved and crazed, something I admire. I enjoy his creative use of photos and appreciate him sharing his pix. He's also a founder of the Goldmine Shithouse, an artist collaborative that bursts with energy.

Spend some time poking around this stuff and get inspired!

4/02/2008

Marilyn Monroe = Public Domain


According to pr-inside.com, Marilyn Monroe is now in the public domain.
The article I read is here.... " Right now there is a lot of confusion in regards of who is still in power or not. Yet when you do some internet surfing and Google search, you find out, that Mark A. Roesler, 52, already commented on the ruling and the ground-breaking news in terms of Marilyn Monroe's freedom and her future."
According the Mark Roesler.com, (of CMG worldwide, who is :The Leader in Intellectual Property Rights Management:)... " On a more challenging front is the finding by the court that Marilyn Monroe LLC was judicially estopped by statements of the Executor of Marilyn Monroe's Estate concerning Marilyn Monroe's New York residence at the time of her death. Because New York does not recognize a post-mortem right of publicity, the Court dismissed Marilyn Monroe LLC's right of publicity claims. This ruling will almost certainly be appealed to the Ninth Circuit Court of Appeals."
It goes on to say, "
With both Indiana and newly revised Washington right of publicity statutes, however, Marilyn Monroe's right of publicity is firmly secured in at least these states and any acts that occur in those states are actionable under those state statutes. Marilyn Monroe's other intellectual property rights such as rights defined under the federal and international trademark laws, various copyrights, and her contractual rights with studios are unaffected by the recent finding by the California court....
My company is headquartered in Indiana with offices also in California and we protect and market almost 200 famous deceased personalities around the world. We will focus our efforts on correcting this obvious shortcoming in New York and we are confident that the citizens and famous celebrities from the state of New York, will not want the fruits of their labor taken from them after their death."

"Good Grief!!" said the collage artist.



3/31/2008

Collages from Poland by Jan Dziaczkowski



There seems to be a little cluster of my past that has come forward in recent days. I have been having moments of personal nostalgia lately and I am reminded of my Grandma, who came to America from Lithuania in her teens. She earned passage on the boat by working as a cook. She said she cooked for Jewish folks...I can remember her most excellent cooking skills and the strange foods I was used to. Borscht, matzo ball soup. In honor of her memory, I bought a box of Matzos from the store the other day and I lavish in familiar taste memories while I close my eyes. Thinking about her and her legacy sent me searching in Baltic regions to learn more about Lithuania.
Strange that during this personal search, I get an email from a collage artist in Poland, Jan Dziaczkowski. He has both a website and a blog where he posts all sorts of fascinating collages and other creative endeavors. These works have a real common sense earthy edge to them. I don't know what it is, but I really enjoy northern European artwork. This collage artwork coming out of Poland is just spectacular.

I also enjoy work that I see in New Porker. (an online pdf art zine, I think it's from Russia) I can't get enough of it today.
This nostalgia is a good thing. It connects me with my past, and perhaps that will help forge what's next in my creative future.

3/25/2008

Video Collage

Continuing along with trying out their new ideas about music marketing, Nine Inch Nails has started a film festival on youtube. They are encouraging contributions from their fans to submit interesting and creative videos to accompany their new Ghosts release. Since the music has a CC license, this allows people to go crazy and create all kinds of new visuals. Again, breaking trends and starting a new way of looking at things, NIN has created a small video revolution. I love the idea and I wanna play too!
I have been working on a lot of video these days, hence the lack of multitudinous posts on this blog lately. I am trying to complete a movie I am making using collage works that I have done (that Sharon Springs project still...). It's a major undertaking, involving all of my skills. I have been a computer graphic artist since 1988, and in all that time I am lucky to have learned a bunch of cool programs, such as photoshop, MAX/jitter, Flash, Adobe After Effects, Quicktime...the list goes on and on. I really dig putting them all together for good causes.
I decided to take one of my collage videos and work it to one of the NIN songs on the CD Ghosts. I wanted to participate in this Film Festival of theirs, and thereby support it. You may have already seen the short clip of this particular collage piece that I have animated in this blog post. I had a bunch of extra video clips that were unused, so I did my best to place them to the music. It isn't my Mona Lisa or anything, but I liked the way it turned out. Here's the video I came up with.

Is there a parallel between music and art marketing?

The collage clearinghouse sometimes has to go to other creative realms, such as music in order to understand and grow. I have a rather longwinded tale here, but it does have a point at the end!
The music industry has gone through some major changes in the past couple of years. No one but those with heads in the sand hasn't heard of the Napster phenom. Even more interesting is direction that high profile musicians as Madonna, Radiohead and now Nine Inch Nails have taken. After fulfilling their contracts with major record labels and realizing that change is in the wind, these musicians strike a new path as far as marketing is concerned.

According to wiki, "In October, 2007 Madonna announced her departure from record company Warner Bros. and a new $120 million, 10 year contract with pop concert promoters Live Nation. She will be the founding recording artist for the new music division, Artist Nation, and the deal will consist of albums, tours, merchandise and promotion." She got involved with a new company and is able to make decisions about what she does.

Radiohead released their double CD set In Rainbows as a digital download also in October of 2007 again after finishing up their contracts with recording companies. Users signed up and were given the choice of paying whatever they felt they wanted to. I downloaded CD #1 and then the second CD was sold in a set that was released a couple of months later in a 2 CD set. This revolutionary method of allowing and even encouraging music lovers to download their music has changed the climate of music marketing from here on and I am sure some record company execs don't sleep good. I don't know enough about it to be able to give exact details but Radiohead made a ton of money and are now in control of what they do and are known as trailblazers.
Link
Along came NIN. These guys went over the top and really started putting some nails on the recording industry's coffin. (pardon the pun) They released their latest 4 CD set, Ghosts online, with Trent Reznor himself uploading the first CD of the set to Pirate's Bay. For under $40, this band sent their beautiful music out into the aether and encouraged all to listen. They used the known enemy of recording companies Pirate's Bay to do it. What a statement!
Just WHAT does this have to do with collage at all???

NIN released that last album under a CC license. Yea, that's right, Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License. That means users can share the music, copy-distribute-display AND perform it. People are also free to remix. Go ahead make some derivative works. In return, users attribute the music to the NIN and agree not to use it for their own commercial purposes. That's only fair, since they were kind enough to give it out basically for free. You can also share this music, build upon it and create something entirely new, as long as you also give your work the same CC license. The stringent rights of a regular copyrighted song seem military in comparison! There's a whole lot of room for creativity built into this CC license, and that equals new paths, more ideas, more thinking, in essence, more creativity.
I wonder how this model would translate into the art world. I know these licenses are available to anyone. As I post my pictures on flickr, I have noticed that the default for copyright is for the normal © copyright rights and in the United States at least, as soon as you have created something it is under your copyright even without deliberate paperwork. Well honestly I don't like these regular rights. They are unclear and leave a lot of room for interpretation, loopholing and shady business. I really want to try to remember from now on to put my works under one of these new CC licenses. If you look on flickr you can see where you can change your images rights. There are several different types, to allow you to adjust the reuse rights as you see fit. It seems like such a better method. I really have to implement them asap.

Red Shepherd 2 1/4" x 2 1/4" — Nick Bantock

But what about the distribution of art? I have a 150 page collaged book that I have no idea how to release. I know that publishers would cringe at the thought of publishing my book, with literally thousands of images that would need to be assessed for copyright infringement. It would be so cumbersome it would prohibit publishing from happening, between the time and money that would be involved. I keep it at home and think about publishing it myself, but 150 page books are a major undertaking. I think about the NIN model. I scan in my book, create a beautiful online E-book, and weave it into the wide web....I also offer a super deluxe-o, animated illustrated hand made version for a nice sum of cash and make a limited number of them. And then I see what happens. It's all so scary for a newbie--giving away your own creative work. NIN, Radiohead, these guys are established names in certain households. They didn't need to find their fans, they already had them. I don't know if I would succeed in the same measure doing this with my artwork. I considered a more famous artist doing this. Most artists are selling art, not books, so maybe this comparison is already warped. But imagine Nick Bantock (a fairly famous collagist/author in recent times) offering a pdf book online. And then offering a finer edition for a cost. Would this work?
Is this model only for those who have already reached their fame? Is this model only for the music industry? Will this marketing model cross over to art? Is there a parallel between music and art marketing?

3/15/2008

Mr. Ghost Chairman


Mr. Ghost Chairman
Originally uploaded by misphit
So I went and did it repeat. And this must be Ghost Chairwomans' husband. The Mr.
I was trying to achieve a better feeling of the light and a more obvious ghostly tone in this one. I altered the contrast on the photo before I output, and it really changed the colors I had to use.
If you look up close at this one, the silver glows. The Interference Oxide Green Acrylic (Golden) shines brownish in one plane, and a shimmering green in another almost like a hologram. Makes a great effect in this piece, too bad the scan doesn't really show it.

Ghost Chairwoman


Ghost Chairwoman
Originally uploaded by misphit
I tried something new this time. Well, it isn't new, that's for sure, but it's new to my trickbox. I mixed my background in MAX/Jitter, and then printed it on my really good watercolor paper on my Epson 2200. The paper takes the images so beautifully but I usually am busy making up my own scenery so this was a departure from my norm. The background is composed of a 2 photo mixture. One was a photo of a ceiling with swirling ceiling tile and a light fixture. The other was a shot of an elegant room in the now boarded-up Hotel Adler in Sharon Springs. What struck me the most about this particular image mixture was the crazy magenta that remained on the floor. I hesitated to add the olive at the top, but I decided if I didn't like it, I could do it over differently. I think I may try it again, only with more white-based images to help accentuate the thing that attracted me to it in the first place, that brilliance in the window reflection.

3/14/2008

Raoul Hausmann — Photomontage —Collaboration


Looking at some DADA work from our not-so-distant past, I spent some time thinking about the changing context of their ideas. Raoul Hausmann was an artist born in Vienna in 1886, but by the time he was 14 he was a resident of Germany. By 1917, he found himself co-founder of the Berlin DADA movement. He was a buddy of Hannah Hoch...John Heartfield....(Already I need to wonder from the subject and ponder about how utterly powerful it is when artists get together. Imagine getting to hang out with on a daily basis your most favorite inspiring artists. Imagine the rush you would get off of a daily feed of creative and interesting ideas, not to mention the gentle nudge of competition that would edge your work even further to new directions.) Together these famous people started the process that is now my passion. In Wiki, it says that they "pushed the idea of the photographic collage and the use of mass-printed source material by inventing photomontage." I can't say that I am a photomontagist, but I can directly relate to the idea of using the mass printed resources available to me. It was a different time back then, and the idea of using non-traditional methods and materials wasn't exactly popular. (And now it's popular, but illegal!) Photomontage is "when a photographic collage—made by arranging and gluing photographs or other found illustrative material onto a surface—is photographed so that the final image is converted back into a photographic print." This reverse photography idea has been blown far and wide now with computers at our fingertips and digital cameras against our eyeballs. Photomontage is now miles from where it was.
And so is our ability to network and communicate with each other. The idea of hanging out down in my local town with other creative thinkers coming up with new art movements is pretty far-fetched in this rural place I call home. But thru the internet things have changed. It's a new world we are living in and I think it's great. Not only can I have friends in art, they can live all over the world, we can collaborate on projects in new ways and maybe discover something new and share it with each other. I am not sure about starting an art movement...but who knows maybe we are living it and don't know it! We are living in some amazing times. Sometimes it pays to sit back and think about all the good things that are coming our way daily.

3/12/2008

My Collage Jumps Thru Hoops



I've been spending more time lately working on the digital end of my Sharon Springs stuff. This little video tidbit is a mix of the scan of my collage piece "NO Longer Hanging From A Chandelier, MAX/MSP video editing, and flash animation. This little piece is not a final. I am still working on it.

3/11/2008

The Dusty Loft — Random Doubts and Thoughts


View inside Honey Space, a makeshift gallery in Chelsea, NYC
note: This post contains a margin of sarcasm. If you know me at all, you know it's inevitable for the sarcasm to leak out.
As I consider the whole Dusty Loft concept, I am coming up against some serious roadblocks, mostly from within my own mind. I am pretty certain that I can get the physical portion of things done. I dread the work because my body rebels anymore when I work really hard, but this isnt my stumbling block because along with age comes wisdom, such as the wisdom needed to enlist the aid of others. The real problem lies with the entire "mission" of the project. I want to share art. That seems rather simple. But after that it gets complex really quick.
Why am I doing this? For Money? For prestige? For friends? Because I can? All the above? What's the purpose of it all?
If the gallery is to work, then it has to generate some income, so to some extent exchanging money has to be involved. The lights, insurance, and the meager rent..>these fees will have to be covered. I cant afford to support this space, it needs to support itself. So money is a consideration. How can a gallery make money? HA! I know >>it seems obvious, by selling art. I have some amount of doubt about sustaining a gallery in upstate NY by selling artworks. I hate to be a buzzkill, esp. since it's my buzz I am killing, but I can't say I have much faith in the value of culture here in the Mohawk Valley. In general, people here are lower income folks, farmers, struggling with very high NY taxes and very little to offer in job selection. Money is tight, gas is expensive and art is frivolous. I will have to come up with additional ideas for gallery income. I will say that I still do have some small trite amount of hope that IN TIME, after being exposed to some minute doses of culture, the area would/should/could support a gallery. But there would have to be some serious community involvement...some insane publicity stunts....something would have to draw attention, cuz it feels like people around here would rather watch NASCAR than attend an art viewing!
I read about this gallery in Artkrush, called the Honey Space, where artists basically commandeered an abandoned building in Chelsea. No Windows, No Heat, No Staff, No Rent. They show their work in a very meager setting. And it's working. How cool is that??? So what was I saying about money? Money sucks, and I hate to make it the center of what I am doing. For that matter, I really am an artist, not a gallery owner (yet), and I would prefer to be making art for money, not shmoozing at a gallery for cash. (So here I go in circles with this! This artist is really tortured and conflicted!) The Honey Space gives me hope, hope that in any context, people may come to buy see art, but this does remain to be proven here in the empty corridors of the Erie Canal.
I have a couple of ideas about how to generate cash besides the selling of artworks. I could rent out artist studio space, it's a huge area I am working with. Certainly there are other people interested in spreading out and having a nice place to create? There is also the idea of holding classes or workshops. I am not too keen on this, because I see this getting me further and further away from my own personal goal, which is creating art and sharing it! I could use the space as a coffeeshop type place, where people go to drink coffee in an arty atmosphere. This also takes me far away from the original idea of showing art in the gallery, but maybe adding a secondary purpose to the space would help it generate the cash it would need to survive.
I am not sure where all this is heading. I am worried about putting all kinds of sweat equity into this project and then getting very little out of it, besides a pretty space. I could produce my Mona Lisa in that amount of time! I work full time (still!) , and I am trying to wean myself away from that idea of the 9 - 5 grind. Maybe the gallery can be where I "work" next, but there's a lot of time and space in between Now and Then. And until I do manage to create more time in my personal life, all this gallery prep stuff is competing with my very very Treasured art time. This REALLY worries me, perhaps the most of all. I don't mind putting some art on hold for a few months to prepare the space, but I already am certain that this is a mode I can't keep up for too long, before the artist in me gets pissed off and quits everything in order to get some Art Done! It's all so uncertain. In life there aren't any guarantees and that's making me crazy.

3/08/2008

Yellow Sulfur Columniation


Yellow Sulfur Columniation
Originally uploaded by misphit
Decided to sit back and try to do something with this piece that bothered me so much before. It was left hanging in disgust and I was hoping to resurrect it somehow today just for something to do. I was not in the mood for a central composition, I have done to m any of them lately. But this piece was already started and needed completion. I really do enjoy taking glossy photos and mixing them with other textures. The realism of the photo seems to make the color saturation go up.

3/07/2008

Call for Korean Ephemera


Decaying Magnesia • 20" x 38" • Mixed Media Collage

I am working on a project about a small decaying town in upstate NY. This town used to be a very popular mineral bath and spa resort during Victorian times. Several of the more historic and interesting buildings have recently been purchased by a Korean company that plans to bring people in for vacations. They want to refurbish the spa and make it a thriving town again. Of course, being Korean, they have different ideas on what the new town will include!
I am working on a second phase of artwork on the town, based on what I envision happening when the construction is over. I would like to include Korean ephemera in my pieces, however I am seriously lacking. I can afford to pay a little bit for the pieces and shipping. Does anyone have any source, any ephemera anything Korean they can share? (receipts, tickets, food labels, packaging, photos, newspapers, calligraphy... anything with Asian type characters on it) Please email me at rustik@mac.com for particulars. I would seriously appreciate it.

3/06/2008

Tales of the Forest Book 2 — Free Download


12 Tales of the Forest — Book 2, Julie Sadler

In this post I introduced the 12 Tales of the Forest. It is a project I am working on that has 12 different one page books that combine to equal the 12 Tales of the Forest. I am a bit late on releasing #2, but here it is, the second in the series. These are cool little books. I love the printing on only one side feature!
You can download book #2 here.

3/05/2008

Anatomical Collage of Richard Russell


Absolutely stunning work! I was tipped off to this link by Amy Ross, of NatureMorph fame. If Amy Ross is Nature Morph, then Richard Russell is the Body Morph!! He uses a generous portion of anatomical illustrations in his work. It is compelling.

His work is oozing with meaning and texture. His collages have a clean look, and I like the message he implies. He has a website, although it is under construction. I look forward to seeing more from him. Note to self: visit this site again in a couple months!

2/29/2008

The Dusty Loft Gallery Plan — Introduction


This is the entrance for Fort Plain Antiques. You would come in here to visit The Dusty Loft. Note the deco door.

A couple of years ago, I was lucky enough to have bestowed upon me the usage of an entire 2nd floor vintage dance studio, right on the main drag at the light in the little town of Fort Plain. It's a beautiful space. Open space, with hardwood floors, full length windows, and super tall warehouse ceilings. It has full length windows, mirrors, and dance barres...truly inspirational. I used it as my art studio for the first year. It was glorious to have such a huge spot to work in! The musical acoustics were excellent and the sound echoed and created a great ambience for creativity. Literally I danced around in happiness over my art freedom. I was isolated and away from everything distracting like TV, the phone, the people.... However it had its problems. Like it's a brick building with no insulation. In the middle days of summer, it was so damned hot up there, I literally would be sitting in a pool of sweat, even at 11:00 at night, just from cutting paper.... So in October of 2006, when the weather started to turn to freezing temps here in upstate NY the studio got really unbearable, the cold hands don't cooperate like warm ones do. I ended up dismantling the studio and I moved my work zone to my apartment. I have not been back to work there. I have used it as a storage place. I go there every so often and wistfully look at everything. I miss it up there. I miss the enthusiasm it gave me.

The view out the front window looking out onto Rte 5s in Fort Plain, NY.
It nags at me. Here's this beautiful area, and I am just letting it sit there and waste unused. Can you imagine what artists in NYC would do with such a space??? Originally I had thought I could do an open studio, and invite the public up on the weekends to view my work. But I was busy getting divorced and personal life just got in the way.

Looking towards the street in the studio. Note the open ceilings

It's been a couple of years, my personal life is calm and peaceful and summer is coming. I am unable to stop thinking about opening up a little gallery/studio in this space. I have a bit of physical work that I would have to do in order to prepare the space for people. The ceiling is open, and on the third floor of this building is a decaying scene of lathe and plaster. Slowly, daily, little pieces of dust come down from the ceiling and land on everything below. Certainly this isn't a proper environment for artwork, mine or others'! (Due to this phenom, I have dubbed the space, The Dusty Loft) The ceiling would need to be closed in. Chris has an ingenious plan for covering it using this thick plastic boat wrap stuff. It wouldn't cost me in materials, but I would have to enlist aid from unsuspecting friends and family. he he he. I would also need a wall built along the stairway. This can also be made of the plastic, and all I need is to salvage a bunch of sturdy 2 x 4's for some framing.


What it looked like in 2006 when I had my studio here at the Loft. Note the stuffed crow.
Once this physical stuff is accomplished, I have this open space, with walls ready to be filled with art. That's it. I have to do it. So this is what I am going to do!
The next couple of months I will be putting up a ceiling and wall. I will also be creating some assemblage partitions using insane pieces of doors and windows and other strange architectural salvage that I have saved over the last 3 years. These partitions will be portable, and will also be Funky. The artwork will hang on the pegboard walls of the gallery, and also on these partitions. The Dusty Loft will have an area to work, sort of a second studio, so I have something to do when the throngs of people are missing. he he he
I will open on Memorial Day and remain open thru Labor Day. I will have the same hours as the antique store below me, (Thurs - Sat) and I myself will be there all day on Saturday. That's a bit of a commitment, since I work Monday - Friday full time already. But I can't think of anything more worthy of my time. IF it manages to catch on, the community is involved, and people are coming to view and/or buy artwork, I will look into funding from grants and such to pay to get a heating system set up. I don't really have to invest much to try this out. I need a mere $50 a month for electric and that's about it, besides the physical setup.
How can I go wrong? (time will tell I suppose!)
There's the Arkell Gallery that just got finished in Canajoharie only 3 miles away. The Picture Perfect Gallery is across the street from Arkell. There are already other reasons for people to come to this area to view artwork. Maybe, just maybe this could work. I am excited to share it all with you.

2/27/2008

Asha Zero


Diskette, Acrylic on board

This is a reverse take on collage. Asha Zero creates these luscious collage compositions, and then He Paints Them. Take a closer look at this pic above, and wrap your head around the fact that painting collages requires some serious painting dexterity! From the SAEmerging Arts Blog, "He pieces together various materials and parts from a variety of sources - magazines, newspapers, stickers, posters - to construct ambiguous and considered, layered collages. When he is satisfied with this “layout as sketch,” he goes on to paint a replica of it; quite simply, he copies the collage, but into the most traditional of media."
I know of several artists that follow this same methodology. Amy Ross, Cecil Touchon...
I haven't attempted to ever paint one of my works. The complications of the torn edges vs the straight edges, the textures...I can't imagine being able to do this proficiently. I wonder about the monetary value of the collage that was used for the painting. Is it just a type of "sketch"?
Asha Zero has some really beautiful work. You will have to check it out.

2/26/2008

My Work in Somerset


I used to be heavily involved with a little zine called AEZ. It was formed years ago by Melissa McCobb Hubbell, Amy Peacock, and myself. We were (are) members of a group called Art Erratica on yahoo.groups. We started out with a nice little black and white zine. The cover was from some kind of special colored stock, and printed black. We had fun picking out stock, covers, and coming up with fancy mailing options. I did an animated CD for each issue, using colorful digital pictures and flash, to help compensate for the black and white visuals in the zine. We weren't heavy into text, but we were into art. Erratic art to be specific!
After a time, we evolved a bit and began printing full color zines on a laser printer. We got really bizarre with the themes, the art was from even more prominent folks, and the CD's became more and more intense as my skills in flash and dhtml increased. Amy had some personal things closing in on her and she went on to pursue them. Meanwhile, Melissa and I continued the zine for a time more, under the name Erraticus Zine. We did a few more issues, and then I also had my turn with the personal stuff. That left Melissa who still is printing and producing this little zine, now on her own.
She recently did an interview with Somerset about the zine, and last night she let me know that a bunch of my artwork is featured in the current issue! I was psyched to see a few pieces of mine on the Somerset website. It was really a good thing to do the zine. I felt focused, involved, and also overwhelmed! It was a ton of work, even though it was satisfying. We didn't set it up as a money maker, and after awhile devoting so many hours wore me down.
In retrospect, I think I replaced my Erraticus Zine work with this here blog. I still enjoy reading and reporting about good art. I like to be involved with my special niche...and this blog is less work than laying out, printing, and binding a physical product. I miss the feel of the actual product tho. I don't have any cool ornate zines to show for all this writing I do. But I do manage to have some of that time back for myself, for the studio. For the magik making...

2/19/2008

2/17/2008

Equilibrium Poised in an Epergne


Equilibrium Poised in an Epergne
Originally uploaded by misphit
Yet another piece for the Sharon Springs DK project. The central photo was taken in Sharon Springs. There is a lower bathhouse behind the White Sulphur Spring and it has this terrific green gothic grate in door. The Epergne (a fancy Victorian centerpiece) was in an old and decrepit silverware catalog that has no cover and no back. I really liked it's form. I tried to get a sense of balance in this one, with a ying and a yang side to it as far as dark and light is concerned.

What was going on in my head while creating? The guy is literally bending over backwards to accommodate her. She is accepting but arrogant or cautious. It isn't clear whether the door of communication is open or closed. That's where your own thoughts come in.

2/16/2008

Liquidation Detector


Liquidation Detector
Originally uploaded by misphit
Number 6 in the prediction machine series. This one seems to flow.

2/14/2008

Painting Studio

I read this post on Artworld Salon and had to do some heavy thinking. The post concerned the fact that there are groups such as the Oil Painting Studio that exist in China that are experts at copying oil paintings. It really didn't hit home how upsetting this could really be until I read this in the comments...

"This Just in from Andrea Claire in New York.

I am a painter but work part-time for a large-ish design firm in NY that specializes in hospitality, casinos, restaurants etc. I was working on a 5 billion (yes, that’s a B) dollar project recently in the office: a casino in Singapore. My firm was contracted to do the interiors. There is an art consultant on the project but as the interior designers we can suggest what we are interested in seeing in the spaces. As an artist I was excited about this, thinking that I could have some input, maybe get some good art in the place. However, what I learned, with a wink and a nod, was that the “art consultant” would be taking the images we suggested and have the work copied by art factories like this one in China, at a fraction of the cost to the client…"


WoW. That opened my eyes. Immediately I thought of the people that are creating DVD's and CD's, our film and musician cousins. They have been facing this same kind of mentality for awhile now in Asia. It's a common thing and something in the news constantly. It really sucks to think that you can spend all sorts of time, energy and creativity coming up with a really interesting oil painting, and someone skilled on the other side of the world can so easily steal your thunder...and in a roundabout way your bucks, too. Paint is paint, and canvas is canvas. If 2 artists are compared, one way to compare them is by their technique. Certainly, techniques can be replicated. So what remains to set the 2 apart? The idea is what will be unique to the individual and that's just the gray area we are always discussing here in the United (Commercial) States.
Makes me think of how collage fits into this paradigm. The myriad of objects and ephemera that are used in a professional or fineart collage are not so easily mirrored and copied. It would be much more difficult task for one to replicate the textures of century old documents, vintage photos, rusted metals, and Spencerian handwriting! I am comforted by this, but not by much. I love to appropriate things, but I really do question myself about how I would feel if a Chinese group copied my work verbatim. I would probably be pissed off.

Unmonumental at the NEW MUSEUM -Thanks to James Kalm

Today I was surfing and reading about various art-video. I learned about many videos that James Kalm has done and posted on youtube. He takes trips via bike (eco!) and visits various exhibits with his own vidcam. I was lucky to stumble upon his video about Unmonumental, the collage exhibit that I mentioned a few days ago here on collage clearinghouse.
He has posted this most excellent little report and although I usually frown upon youtubes in blogs, I found this irresistible! I was wanting to see some of Wangechi Mutu's work, but there was nothing in this video. Still, it's worth a watch.
UPDATE: James Kalm has commented on this post for me and pointed out that there is a huge piece done by Wangechi Mutu that is shown in this video. I can't believe that I missed it! But in my defense, it doesn't look anything like the pieces that I have already seen done by her. Most Excellent! Thanks JK!


2/13/2008

Glue and Gouache


Recently I did a post on an email that a fellow collage artist had sent me regarding glues. I also have done a recent post about a collage artist that used gouache to create flowing effects in their collage work.
I wanted to tie the 2 together and write just a little about the combination of glue and gouache. While visiting Matthew Roses's The Whole Truth exhibit in Vermont, I was able to get up close and examine the deep and complex textures that he creates. I wanted to get exact information, and in an email here's what he says regarding his materials:
"I've used a zillion kinds of glue and my favorite was a one liter bottle from BIB / Giotto and distributed by Omycolor. but they changed the formula and when I called them, they denied they did, but it's clearly a different glue with different surface qualities when it dries. The new version is high gloss. I'm scavenging Paris for the old formula now. For gouache, I've used most of everything, but prefer the large one and two-liter bottles from Giotto and Dalbe. The glue I tend to mix with about 1 part hot water with every 3-4 parts glue. Another glue I've used a lot is Sadler (your name!). I used to buy it in tubs of 10 kilos from the BHV in Paris. I no longer use the expensive mediums that dry to an impossibly high end finish because I can't scrap them away as easily or effectively with steel wool. Some of my "paintings" mix layers of gouache and glue then are drenched in water and scraped ... so as to reveal underlying colors. Sometimes I leave the finish flat and matte and other times I'll apply more glue on top to create that cake icing look. "

This texture is really thick and I like it very much. It adds depth and an air of antiquity to his pieces. Visibility of this texture on the web is limited, but in person, the effect is stunning.
There is a wealth of Matthew Rose collage work here and you can also visit his blog here.

Collage from New Zealand


Dale at home in New Zealand

What kind of collage blog does not include Dale Copeland? Dale is a powerhouse artist that resides in New Zealand. She is very involved in her craft and is an inspiration for many artists. Dale has run the Virtual Tart website for Taranaki artists since 1997, and organised Taranaki exhibitions around the world. She also is the curator for the very popular International Collage Exhibition and Exchange. Aside from her active involvement with promotion of artists through the TART site, she is also a prolific and talented collage and assemblage artist.


By Their Fruits You Shall Know Them
mixed media assemblage by Dale Copeland, 1987
Collection of Jerome Leyendecker, USA


Her website is loaded with quality examples of 3d pieces and she recently has updated her collage page. A visit to her site will take some time. There's a lot of work there and the messages are deep.

Moving towards loss of identity
Collage by Dale Copeland 2008

2/09/2008

Stagintine


Stagintine
Originally uploaded by misphit
Struggled like crazy with this one. I wanted it to look different and all that. Froze up like a scared rabbit and couldn't do anything for a couple of hours fussing, snarling, and rearranging. Finally decided just to settle down and do whatever it is I wanted to do and to hell with the whole "different' thing. Just do art for me. I was feeling guilty--like I should be doing valentines for my family. That seemed to influence this work.

2/08/2008

Amie DICKE: Sensual Sadness


JLo wetT (2003) • Cutout, ink on poster paper
• unframed size ± 39x 27 inches (98 x 68 cm) • Amie Dicke

While looking at the Unmonumental exhibit information, I discovered the work of Dutch artist Amie DICKE. She isn't exactly a collage artist. She is doing the reverse almost, by taking magazine photos and snipping away vast portions of the image. The result is a flowing piece, with smooth flowing lines reminiscent of art nouveau. The contrast between the background white of the paper and the new shapes that Amie brings out is really innovative. I like these...

LOVE ME CALVIN KLEIN, 2004, CUTOUT, INK ON MAGAZINE PAPER, 41 X 58 CM • Amie Dicke
The piece "Love me Calvin Klein" spilling across the centerfold like that creates some really nice lines. This is one of my faves.

2/07/2008

Flowing Collage Pieces by Eva Han


{un moment-} collage_cut+paste_gouache_sur papier noir 29 cm x 21cm(11.4'' x 8.3'')


Today I bring a new discovery to the blogtable. Eva Eun-Sil Han. From her website, "All works feature the element of surprise and unexpected juxtapositions-Working with elements from the tradition of Surrealism- And Old School hand-made collages augmented with drawing and painting techniques." In her series, Cerveau which is featured on her website, she does this beautiful flowing gouache work on her collages and it is captivating. I really love these thought provoking pieces. The effect is a visual energy flow.

{ complice- } collage_cut+paste_acrylic_sur papier 37.7 cm x 28 cm ( 14.8'' x 11'' )


In her gallery Rouge, collages are stained with the brightest of red, creating an unusually high drama impact as in the piece complice, shown above.

사건발생 [事件發生] - happening
collage_gesso_magazine_sur papier
projet pour AAAAA


The Asian type in "happening", show above, lends a different spice to this work. I like her textures, and I really like the flowing gouache. Thumbs Up!

2/06/2008

Collage: The Unmonumental Picture


Collage Clearinghouse found out about a really excellent collage exhibit in NYC on the MAO blog. This is a good one. I may have to take the trek on down to the city for this one.
Here's the down-lo from the New Museum site...

“Unmonumental” expands on January 16, 2008 with the opening of “Collage: The Unmonumental Picture.” Recent collages by eleven artists, including works made expressly for the exhibition, will be installed on the gallery walls surrounding the sculptures already on view. Using varied strategies and materials, each of the artists in this portion of “Unmonumental” exploits the formal and ideological power of juxtaposing found images to create everything from social and political commentaries to Surrealist fantasies and personal confessions. Collage is a medium that by definition incorporates fragments and deals with opposing tensions, broken images, hidden desires, and collective myths. “The Unmonumental Picture” demonstrates the urgent relevance of collage practice in a contemporary world full of excessive imagery. Participating artists are:

Mark Bradford
Jonathan Hernández
Thomas Hirschhorn
Christian Holstad
Kim Jones
Wangechi Mutu
Henrik Olesen
Martha Rosler
Nancy Spero
John Stezaker
Kelley Walker

“Collage: The Unmonumental Picture” is organized by the New Museum's curatorial team of Richard Flood, Chief Curator; Laura Hoptman, Kraus Family Senior Curator; and Massimiliano Gioni, Director of Special Exhibitions.

A catalog is available for purchase on their site.

New Museum website
Collage: The Unmonumental Picture
New Museum
235 Bowery
New York, NY 10002
212.219.1222

Gluing Plastic to Paper

I've spent a lot of time looking at completed collages, however I have not delved into collage construction. I have had people asking me about materials, adhesives...and I figure that it's time I wandered onto this subject.
Since I am no expert by any means, I cannot sit hear and write like I am an authority. There are plenty of places on the web where one can find out about glues, adhesives and their qualities. I won't even attempt to list them all. However, I can tell you how I personally feel about some of the glues that are out there. I am inviting any and all discussion regarding glues and the various techniques of adhesion.
For this post, I am going to copy the contents of a brief email conversation I had with fellow collage artist Marty Gordon.
MG: I am looking for the right glue to adhere plastic to paper. In the past, I've had the plastic peel right off after it dried. I thought I would consult my expert collage connections. Any suggestions?"
CC: HA! (good one!) expert connections! hahahaaaaa
That's a hoot! I am not really expert, but I do have some experience. And I also am not a technophile with this type of thing, I don't manage to retain chemical information of anything of that sort... But still, I appreciate your asking and of course I have an answer for you, actually a couple of choices.

My ultimate glue of choice is Golden Matte Medium. I have used Golden Matte Medium for things like this before and it holds. Liquitex also makes it but it costs more. Both products are comparable.

You basically are looking at a non-porous item adhering to another non-porous item. I have used Yupo as a base (synthetic paper, basically plastic...) and have successfully adhered pretzel bags to it (also non-porous). I had to glob the medium on pretty good and get a nice thick layer. The glue will not be absorbed, so therefore you really need a nice bed of medium because "it" is doing the job of sticking.

After globbing it on, you don't touch it AT ALL if possible. Let that sucker dry, and it might take hour(s) to do so. If your plastic has folds or bends in it this may make things a bit more difficult. I have used all sorts of things to weigh down plastic that is stubborn. Use objects that are heavy and not porous. If you use porous objects for weight, they may stick to any stray medium and cause issues later on when you try to remove them. Once the glue dries, it will hold your object on there. Continually bending or messing with it will allow it to pop off. Still, matte medium has worked the best for me many times in these conditions and even works on objects that you wouldn't think would stick.

Golden Matte Medium isn't cheap. But this stuff is serious. When I use my fingertips to press out air bubbles or to press papers to each other I get it all over my hands. Washing it off is Really Difficult, because water just doesn't automatically absorb it and wash it way. It isn't like Elmers glue to clean up, even on skin! This stuff has staying power. I have faith.

Another alternative I have used successfully is Tacky Glue. Tacky Glueis really thick and gooey and reminds me of Elmers glue when it comes to cleaning it off. It has sticky power, which the Golden Matte Medium does not, so if your object is heavier, you may want to consider Tacky Glue.

Finally, I have to mention the glue stick. I did a project just last night and had to adhere a flexible plastic computer circuit board to paper. I used glue stick, but then again, one of the surfaces was paper(porous).

What do you normally use? I probably will post this a la blog.... No doubt we will gain further feedback."

MG:
Thanks for the input. I usually use Mod Podge (gloss) for everything. I rarely use plastic so it's not a problem. Do you have a position or insight on Mod Podge?"
CC: Mod Podge.
That was the stuff I first used years ago.....
I don't like the gloss. That's the first problem. I use antique materials and the gloss bothered me.

I wish I could remember why I stopped using it, to tell you the truth. Oh YEA! I DO remember!!!
When I did pieces with Modpodge, I found they stuck together easily. I was doing journals and collage in books at the time. IF I used Modpodge, I couldn't put another modpodged item against it. They would stick together forever if I closed the book and sometimes it destroyed all the artwork. It would require waxed paper in between the sheets, which was a drag. I was participating in round robins, and other people that used ModPodge didn't protect their pages. A few of my altered book specimens have pages that are permanently stuck because of it...
With matte medium, I never had that problem. Once it dries, it isn't sticky anymore, or at least I haven't experienced a problem with it.

I imagine ModPodge would work fine for a single collage that was not up against another one or in a frame. Moisture in the air seemed to exacerbate this problem. Perhaps the climate where you live is dry .
MG:You are correct about the stickiness. Sometimes I stack my collages (since I work on 20 or more at a time) and sometimes they get stuck together. I can see where that would be a major pain with an altered book project. I like the gloss look. It makes my images pop. Plus I'm a texture guy and I like the way the light picks up the brushstrokes and fingerprints and all.

I really appreciate the input. I think I might try the Golden stuff just to compare (since I never have).

CC: Thanks Marty for inquiring and giving me a chance to share some info...My experiences are only the voice of one, however. Does anyone else have any thoughts about gluing plastic to paper?

Check Marty Gordon out on his site or his blog!

2/05/2008

Prediction Enlargement Machine


Prediction Enlargement Machine
Originally uploaded by misphit
The Idea is manifest. The mind takes a snapshot and the idea is sent into the circuitry. The Idea is enlarged through the prediction. The circuitry nurtures the system with the prediction as the idea is brought to reality.

2/04/2008

The Lugubrious Game — Dali Collage?


This is a quote from the book Dada, Surrealism and their Heritage (MOMA, 1968) concerning the painting "The Lugubrious Game" by Salvador Dali
"The eclectic Surrealism of Senicitas....led in 1929 to Dali's first mature works, a series of brilliant small pictures whose hallucinatory intensity he was never to surpass. In some of these, The Lugubrious Game, for example, the photographic realism of the painted passages is indistinguishable from those parts of the surface which are actually collage bits of photographs and color engravings. In equating his painting technique with the verisimilitude and surface finish of photography Dali here brought full circle the "perversion" of collage that was initiated by Ernst. Dali maintained the activity of collage, but in disguising even those differentiations of image components still visible in Ernst, he produced, in effect, an anti-collage."
Looking at this piece as best as one can on the internet, I cannot tell what portions of this painting are photo, and which are paint. Is anyone familiar with this piece that can pinpoint this? Dali's masterful painting technique once again has fooled me and I can't tell from lame .jpg files.
Through a Google books search, I found this further quote in Realism, Rationalism, Surrealism: Art Between the Wars, by Briony Fer, David Batchelor, Paul Wood regarding this particular Dali painting.
"
There is no coherent unity to the figure; it is only the sum of these fragmented parts. But it is not only this figure that is 'dismembered'; in addition to some real elements of collage stuck on to the canvas, the painting as a whole deploys a collage-like technique to assemble fragments and parts."

2 Copyright tidbits

• I need to buy this book. Clarity can only come from increasing my knowledge.
The Copyright Permission and Libel Handbook,by Lloyd J Jassin and Steven C Schechter

•
LLOYD J. JASSIN is a New York-based publishing and entertainment attorney in private practice and he also was involved with the afore-mentioned book. Here's a link to his document Fair Use in a Nutshell. This was written as a checklist for writers, but for collage artists, similar rules apply. I liked the general advice on this page.


___A place to find all kinds of information about collage.