Collage with a Romanian Flavor

Hocus-Pocus 18" x 14" mixed media on masonite February 2008
This collagist is a well-rounded artist born in Romania. In 1990, Florin Ion Firimita relocated to the US to pursue his interest in the arts. He has both a film and photography background, and collage is just one of his many talents. I was particularly drawn to his use of modern imagery. Due to US copyright constraints, there's so much vintage ephemera to be found in collage. It's refreshing to see different images being used!!!

The Death of Summer
30" x 24"
mixed media on wood 2007
Florin's pieces hint to various themes, and uses images to connect the dots. In The Death of Summer, there's a shadow of fall leaves in the upper left corner...In Hocus Pocus, it's the title connecting me to the hand image...I like to be able to discern just what it is the artist is getting at. Florin does a fine job at that communication thing. It's one thing to make something worth gazing at, it's quite another to relay a message along with it.
I also further impressed with his assemblage work. There's some compelling work on his site.
His work can be viewed further here.

Pygmalion
assemblage on antique cutting board

Bjorn Copeland

I am really digging the collages of New York artist and musician Bjorn Copeland. His work is energetic and pulsates with color and pattern. The images he uses are dissected, rearranged and bombarded with sharp angles and rainbow colored grids. I also really like what I’ve heard of his band Black Dice, a kind of a wild experimental noise band. He also makes some perplexingly cool found object sculptures.


Goodie bag - 2004


Money Shot - 2006

Here’s some links if you like his work:
Daniel Reich Gallery, China Art Objects, Jack Hanley Gallery
picture book Gore on amazon
black dice on myspace
www.blackdice.net


Cinema Split - 2008

Cuttings from UK - Mark Lazenby

Mark Lazenby is a collagist extraordinaire from across the pond in the UK. You can gaze and drool over his images on his site. I found that he has a really nice and graphic feel to his work and the placement of the images really works for me...
Today I am feeling a bit organic, being that we are in the summer months with the best weather of the year at hand.
I really have been feeling like I need an
Excursion into the Mountains


I can hear the sound of the winds in the tree leaves, while I am surrounded by lush green I am thankful for a
Beautiful Tree

I sit back in the fields looking up at the sky and truly I can feel my
Ideas Taking Flight

There's so much to take in, I want to implode.
O Who Can Ever Gaze His Fill

All good things must come to an
End

Including this post.

Michele DeVous-Color Burst Collage

Michele is a collage artist that frequently posts her images on the flickr site. The first pieces I saw on her blog were super colorful and I was having a summer attitude just looking at these...
I went deeper into her photostream and found luscious reds blacks and whites, which is a personal color combo fave of mine.
She also had these crazy monotone pieces and the texture on these seems full and rich. (as usual, I wish I could touch it with my own hands and feel the layers...)

There's quite a variety of work online here on her flickr page. Michele has mentioned that she has her first solo gallery show coming up in September in St. Louis, MO. I hope that she will update us with more info as the time gets closer...

the Future of Collage Clearinghouse

If you read this blog much, you have already heard me sharing my thoughts on personal blogs, this blog, conversations on blogs, jealousy of blogs ad nauseum! I finally have a handle on what I need/should do and I hope this works for everyone!

The blog started as my dumping ground for all things collage. Galleries, artists, links, techniques, history ANYTHING that can relate to collage. As with any blog, I have spent a lot of time peppering the posts with my own work and a lot of my own comments. But truly, in the back of my mind, I really had wanted to start something that was more like an information clearinghouse, hence the blog title. Indeed, I think to some extent I ride the line internally about what I should post, how much personal stuff, do I need ads (since people actually write ME to ask me to post ads!) should I have others post, etc... After a bit of time and sorting I have decided what I should do.

I am going to keep this blog as a public service. Why not? It's taken a year and half to get to this point, and I think we need places like this to be able to hone in on our areas of concentration. Like a digital encyclopedia chapter, I hope that the Clearinghouse can be a place for artists to look and see the variety of fine art collage work being done out there, search for galleries that promote collage, and find the supplies and/or techniques that may be new to them. The blog format lends itself really well to a bit of information and some visuals. I tend to appreciate the visuals in blog posts a lot, and when I compare a dry, text filled newsgroup with a nicely designed blog that has photos, the blog is winnin'. Hands down.
I am also going to adapt things a little bit. I am going to stop posting so many personal pieces of own art and try to limit my own art exposure when it relates to the post. I think this would leave the blog more neutral and therefore, much more like a clearinghouse of information like I had envisioned. I am also planning on deleting the litte doingfine.org ad on the side. I am going to turn down any future ads, in the hopes of keeping things more informational, and not commercial.
I love the addition of Daniel Lee to the blog roster. It's been such a huge huge relief for me this past month as I had to go out of town for a week and I knew posting would be next to impossible. (thanks Daniel!) I think there is room for another poster, if someone is interested. I am going to get serious about dedicating myself to 2-3 posts a week. Along with Daniels contribution, this should keep enough content flowing that the blog is active, and interesting, and worth checking every few days. If anyone out there feels they have some little portion of themselves they can contribute, I would love to hear from you. Meanwhile, the clearinghouse will carry on.
Finally, I will be starting up my own personal blog where I can go nuts posting my own work and my own thoughts without the worry of tainting the audience. I haven't started it yet, I am still looking around to see what product I want to use...Typepad, Blogger again, or what...
I really have enjoyed a lot of typepad blogs, they are easy to follow and the features it has seem popular. However, I have a need to strike out on my own (individuality runs deep!) and so I will probably use blogger again. When I am ready, I will post the link here on the Clearinghouse.

This should be an end to the silly blog drama over this last month. I want to send out a HUGE thank you to the wondrous Clearinghouse readers that have sent me private emails expressing similar views regarding the blogosphere, art, jealousy, etc.... It's hard to believe that lines of text sent thru the wire from people that I barely know can brighten my soul so much and provide me with a bit of hope. I really felt kind of insignificant and foolish about the things I wrote. Little did I know, so many of us suffer from blog overload. Thanks so much, you all know who you are!!!

Now let's get on with this thing called collage, shall we?

Working on LIttle books

Little Book 4
Originally uploaded by misphit

Meanwhile, as I trudge thru the path as an artist whining and complaining, I am still producing. Here's a sample of a silly little summer page.

Where my head is at

It has been a little while since I took a break from the daily collage blogging. At first, it was such a relief, and I am still thanking the bloggy Gods for sending Daniel Lee in to help! Then, I went on a week vacation and it was easy to not think of the clearinghouse...Now I have returned and I have done some mind sorting. I decided to write a little explanation of where my thoughts have turned over the last weeks and share some things that are more personal. I will bare some of my soul, but at least you will understand.
I don't know why this happens, but I must suffer from some sort of bombardment disease. I am fine and can do my own thing for a long time, but we all get that urge to surf the net. It's freakin' great! All the new stuff to see, new techniques, peoples' studios. Collaboratives, cooperatives, art sites, community, flickr, live journal. Blogs, galleries projects and news groups. It's all so lush and full of wondrous things I want to try, things I did try....And after awhile I am addicted to looking at it all. It's like a living magazine in front of me everyday that has changing content all tailored to me! I can view books today, collage tomorrow, and supplies after that.
But I am a sensitive individual, and it's something that I am only lately learning about myself. I get overwhelmed by all the information, the groups, the ideas...and eventually I am left with some very poor feelings. Some of them I am not proud of and they include jealousy for example. I get jealous of others and their progress, their notoriety, their galleries, their talents... It is insidious, I hate jealousy, but it eats at me in little doses and slowly it takes the enthusiasm out of what I do. I end up overwhelmed and insignificant. I end up not wanting to do any art at all. Unfortunately, this blog is part of that bombardment disease. I look up stuff for my own use, for your reading, to keep the blog alive, and then I end up depressed slowly, as I realize my smallness. I know we all have egos, we all have that urge to excel. I always had dreamed that I would do something important, my art would matter, and that somehow it was destined for me to be great. Well, as age keeps coming and my years are counted in bigger numbers, I start to realize the folly of that thinking. The internet reinforces these negative attitudes and before I know it I just can't do it anymore. I am probably not doing anything great. I am probably not going to do anything new and fascinating to anyone but myself! I am what I am and that is all.
I believed that collage was an art, not a craft. I believed that it was something special to be able to spin a tale with papers. Then reality again set in. Collage is viewed by many--even me at times-- as a secondary art, and copyright laws infringe upon our creativity. It's a very plagued medium in my mind, and I wince as I spend countless hours collecting, sorting, and pasting papers from every corner of my world. For what???? Certainly not to get famous at this point, and definitely not for money. I've been published 5 times and participated in a documentary on film. None of them paid me anything!! But I sure felt good.

I do art because I like to. I like to make something out of nothing. I like the little books I can make. I like the art on my homes' walls. I don't imagine anymore about who I think I am going to be, and now I am spending some time just being who I am.
That means less blog posts on other artists. In order for me to preserve my own semi-sensitive identity, I just can't immerse myself in others' work daily! That puts a hurtin on this ole clearinghouse scene, and I am sorry about that. I didn't realize how this path would turn out, or how it would affect me personally. I am considering starting another blog that is more personal, about me, about my art, and less about other people. I don't know ...I have read a lot of blogs lately and they have become so interesting and some people have the coolest posts, the coolest blog design, they sell stuff from the blog...it is endless. Even in blogging I feel competition, although it is subtle. I guess I just have trouble with my own confidence. I will keep on trying to beat it down and the best way I can do it is to keep on my own path, doing my own thing. That's a hard thing to do when you keep watching over your shoulder to see what everyone else is doing.

Balint Zsako

The cover of Culture + Travel for May/June featured a really intense collage that was done by Balint Zsako. What gorgeous collage work!!! I really like the rich medieval look of these pieces. Born in Hungary, now living in Canada, this multi-talented artist also does some really beautiful work in painting too....his website is worth a visit.

falling_ruin

I love artistic collaborations, I’ve been part of a few and hope to take part in many more in the future. The internet is an amazing tool for finding people who both challenge and compliment your own artistic sensibilities. Collage is an excellent medium for working with another person; adding, moving, covering, changing what the other has laid down already and back and forth.

I came across an astoundingly great collage collaboration the other day on Flickr.com. The two artists separately are very talented; Yann Robardey and Eva Eun-Sil Han (who has been mentioned on this blog before. Eva goes by the moniker Falling Apart and Yann by Ruin Tourist and together they call their project, where they mail collaged postcards back and forth, Falling Ruin. I find these pieces so refreshing and surprising; absolutely inspired. They post previews of the pieces before they are sent off to the other party, it is nice to get a glimpse at both sides of the collaboration.



Ruin Tourist was involved last year in another collage-collaboration with Benjamin Bozonnet called Chinamatic, which resulted in an exhibition in China, “See You There”.
Eva has an upcoming traveling exhibition at Galerie in der Stadtscheune, in Otterndorf at the North Sea, Germany in July.



Eva's blog
Eva's website
Falling Apart
Ruin Tourist
Falling Ruin

Speaking of Jess...

I love finding out about new artists... I hadn't heard of Jess until I read Daniel's post. (one of the truly great advantages of having another blogger on board!). As it usually goes, when you hear of something all of a sudden you start hearing about it all over, like a cluster.
I was reading over at the blog of Eva Lake, and she mentioned Jess in a recent post. Apparently there is a show called Jess: To and From the Printed Page going on in Portland, Oregon, at Reed, and the show will be up thru July 20. This link has the specifics.
West coasters may want to take this show in and absorb some collagey goodness.

Julien Pacaud

I find it really exciting to run across an artist’s work that seems to fly in the face of something that I happen to be working through in my own collages, yet is still completely successful.


Notahobbytool, digital collage, 2007

Julien Pacaud‘s collages do that for me. Lately I’ve been concentrating on the idea of transforming the images I’m using by heavily altering and dissecting them. However, in Julien’s pieces the images remain for the most part intact and presented realistically but very much out of context.

Julien Pacaud is an illustrator based out of Paris, France. He achieves a classical surrealist strangeness in these aptly named “perpendicular dreams“. The stylishly vintage figures in these bizarre landscapes are both emotionally disengaged and savagely dramatic wrapped up in their peculiar narratives. I love the colors used; some are full of washed out chalky grays, while others are drenched in an over saturated, hand colored effect. His current collages follow an equally bizarre and amusing storyline full of fantasy intrigue and suspense.


Episode 9 - The second assassination attempt, digital collage, 2008


Autoroute Zero, digital collage, 2007

Definitely check out his website there‘s some cool links and something called ‘automatic art‘ that is rather interesting. Also, his portfolio of commercial work is equally as engrossing.
julienpacaud.com
Julien Pacaud on etsy.com

Collage and Prints II

Nudes 3, etching, collage, digital print on plexiglas, 24" x 24" x 2"
WHY do I keep posting about collage and prints?
Because this past weekend I attended the Philadelpia Academy of Arts Graduate art show. I was exposed to several unique and upcoming artists and really I enjoyed the show. There was a lack of collage represented at this show, however there were a few mixed media pieces that caught my eye. One in particular had used an etching and collage along with it. I liked the depth of the etching and the floating of the collage elements. There was also another artist--the one that I did notice doing collage, and they used glass windows as the frame, and collaged underneath the glass. It was a great foil for the collages, and it was really interesting when there was paint smeared on the glass on top of the collage work. It made for a really nice opaque look. I was inspired to look more into the printing aspect when it comes to my work. I have a gocco printer for screen printing and it sits forlorn in the corner.

Today I discovered a Spanish artist, Cristina Morono on the Manhattan Arts site, who had some beautiful etchings combined with collage and plexiglas. These are really nice pieces. I spent some time on her website looking thru her various serie's.
I would love to hear about other collage artists that are using prints in their work. There are so many ways to do this....

Collage and the use of Prints

I want to publicly and more formally welcome Daniel aboard the clearinghouse! I am excited for the change and a chance for new perspective. He is involved with collage as a medium, and I look forward to reading his posts. Now some of the pressure for this is off of me and maybe it will become a pleasure again instead of a burden. Thank you Daniel!

I discovered the work of Josh Bernstein today on Art Fag City, a reputable art blog. His work just pulled me right in. At first I was mesmerized by the block print work, Depressa Resurgit. It is a massive 12" x 72" piece utilizing blockprints, maple and photography. I feel organic nouveau influences in this piece and i love it. I have been looking more and more at prints and how various artists use prints in their work. This unusual implementation of the print over the photo really is effective. Me like. I do have a question however. It appears as tho this is a collage on wood, using blockprints that were cut and photographs in a background. I wonder why this isn't called "collage", and instead the artist lists the ingredients. ??? I may be completely wrong, without seeing it up close and observing texture it's hard to say.


Depressa Resurgit, 2008 12" x 72" blockprints, maple and photographs

The talented Robert Rauschenberg was famous for using prints in his work and I really like the idea of it. I personally am not so keen on the problem that is created by using multitudes of rectangular shapes. This piece by Bernstein seems to solve that by the use of a cut print. Nice work!


Retroactive 1 (1964). A large press photograph of John F. Kennedy speaking at a televised news conference was the source for this screen print on canvas. He juxtaposed the image of Kennedy with another photo silkscreen of a parachuting astronaut. (courtesy of warhol.org)

My Collage Heroes

I thought I should introduce myself. Hello, I'm Daniel and I volunteered to to become a blog contributor here at The Collage Clearinghouse. I thought I'd start by listing my three biggest collage heroes of all time. (I would say 'influences' but I feel influenced by all the art I see everyday, and so 'hero' sounds more appropriate.)

Number one for me would have to be San Francisco painter/collage artist, Jess Collins(1923-2004). I am always blown away by Jess' densely packed, rich, inventive collages; you can just get lost in them. His process was also fascinating, working in several different modes he called past-ups, translations, necro-facts, and salvages. Some of his pieces where he layers puzzles in and out are absolutely jaw dropping.





I've seen some great monographs of Jess' work. Here's two on amazon.com:
Jess: To and From the Printed Page
Jess, a Grand Collage, 1951-1993
and here's a couple online articles. hackettfreedman.com sfgate.com


Next for me is Dada artist Hannah Höch (1889-1978). I really love what she did with the human form, and the deceptively simple feel of her pieces. Her work is full of political and social commentary, new forms of beauty and feminism. There's something about her collages that feel free and airy and at the same time important and powerful.





Some books on Hannah Höch on amazon:
Cut with the Kitchen Knife: The Weimar Photomontages of Hannah Hoch
The Photomontages of Hannah Hoch


Next, I would say for me is New York collage/assemblage artist, Joseph Cornell (1903–1972). I love his whimsy and curiosity. He seemed to be enamored by certain subjects and explored them with a fantastic fascination. His work is so playful and beautiful, colorful and nostalgic. To me his work is less about transforming an image or juxtaposing ideas but about concentrating on an idea celebrating it.





Books on Cornell on amazon.com:
Joseph Cornell: Navigating the Imagination
Joseph Cornell: Master of Dreams


I know these aren't exactly unknown names in art history but they've definitely shaped my love of the medium of collage so I thought I'd share my appreciation. There's many other artists I could put in this same category, but these three come up so often for me when thinking about art and collage they top the list.
Feel free to leave comments on your thoughts on these three artists or about your own collage heroes.

Suggestions and Solutions

I found myself contemplating the feedback of my previous post over these past few days. Some people were kind enough to send their well wishes, others sent me private emails that explained some of the flaws in the clearinghouse. I am grateful to any and all that read, comment, email, or participate! Thank you. There were some suggestions that I feel were quite appropriate and I am going to attempt to pull this together.

Initially I had started this blog as a service to myself, but since the clearinghouse is now one and a half years old, it has grown and the idea behind it is changing. I really want this blog to succeed as a resource for every (collage) artist, not just for me. I feel as tho no matter what I do, the burden is pretty heavy. In order to properly create flow of content, I believe I need some help. I have seen some really great successful group blogs, Scrapiteria is one. The multi-blogger format is already proven, it works. I really like the idea of enlisting some aid. I am looking for a handful of somewhat dedicated collage artists that would be willing to contribute once a week. If I can find 4 people to help, that would mean each week there would be 5 different posts, with varying opinions and ideas. Of course, posting more often than once is great, but if there were a few of us posting once a week, it wouldn't be required to keep this resource alive. In addition, the added perspective of others here would probably add a different flavor to the blog. It wouldn't be all mine mine MINE! (cackles of laughter and hysteria fade in the distance)

Other suggestions that I received involved some improvements on the content. I will need to address this next. My flittering about from topic to topic, my habit of posting a lot of personal artwork, these things I need to get a handle on. My hope is that I can get some helpful interested folks to volunteer first to help share the burden.
If YOU are interested in promoting collage an an art form, can pledge to post once a week, email me privately and lets DO this!!

rustik@mac.com

A personal message

I don't spend a lot of time posting about my personal life, I tried that on live journal for awhile and I ended up paranoid or watched. A little bit about the other me you don't know about... I work full time for a trade newspaper publisher as a graphic designer/webmaster. I also do systems admin work which involves training and installing of software and hardware for the company. It's a busy job, and it keeps me up to date with technology. It doesn't offer me oodles of spare time at home tho. I guard my private moments and try to use them for creativity, or times with the fam. I don't watch tv, don't do movies generally, and I try to be focused on my own causes. The blog really is a portion of my life that seems to not be pulling it's weight however. I feel sometimes the giving is so much greater than the receiving....I hate to put it that way, it seems so selfish. Is the blog for me? or for you? It should be for both.

I have spent more time than I care to add up working on various posts for this little blog. It's sometimes an added pressure in life to have to worry about the pieces of a one-way conversation. I like the blog format, the fact that you can post pictures and share info easily. But it feels so utterly lonely just posting away everyday into the aether. I try to put a variety of collage related things up here in an attempt to feed the hungry who may also be taking their time trolling the web looking for insight and ideas. But where's the conversation?

I have to admit that I am feeling a bit defeated at the whole blog game tho. I read several serious popular art blogs and end up for hours on the comments, it's the conversation that grabs me most. That's exactly the thing that feels missing on this here blog! I tend to be pretty isolationist about my habits anyhow, but I am trying to draw in some kind of feedback and it just isn't happening. My fault? I have no clue.

I see my little webstats show that over 100 people read this blog each day. I just don't feel it's making sense to continue to pour my time into something that people are not interested in. I receive emails from individuals telling me about themselves, wanting to be posted on the blog...and that's all cool. I have had a few private emails asking me to address a certain topic or issue, but other than that, there is little feedback here and it makes me wonder. This is an open post. I am looking for any commentary, or maybe just some kind of sign that really is worth my time! Like Pink Floyd has said... Hello? Is anybody out there?

The Passing of Robert Rauschenberg

Robert Rauschenberg Untitled (Man with White Shoes) ca. 1954

According to the NY Times, the gifted Robert Rauschenberg passed away last night at the age of 82. A sad day.

Satellite 1955 mixed mediums and taxidermy pheasant, ca. 79 x 43 x 6 in. Whitney Museum of American Art

IN 2005, I went to the MET in NYC and made the effort to see an exhibit of his combines. Such crazy work!!!!! It was a moving exhibit. The physical mass of his combines, the usage of various household objects, his whole idea inspired me and helped me see things differently.

Canyon 1959 mixed mediums with taxidermy bald eagle and pillow, ca. 87 x 70 x 24 in. Sonnabend Collection

A quote from a review on artnet by Jerry Saltz says "Nevertheless, Robert Rauschenberg may be the American Picasso. He is a Dionysian maverick of experimentation, openness, visual wit and roguish nerve; an artist who cannot be diminished by others but who can only diminish himself; someone whose envelope-pushing has been inspirational for generations. As Johns generously avowed, "Rauschenberg was the man who in this century invented the most since Picasso."
As a collage artist, I am forever grateful for the masters that have come before me and paved the way for my visual freedom of expression. I appreciate Mr. Rauschenberg's contribution to collage culture and silently I nod my head in respect.

Reply Comparisons - Our Govt. at Work, or Not

I had gone and signed the petition at the IPA site about the Orphan Works Bill. So did many other graphic artists! I was on my Assemblage list this morning on yahoo and a reader had posted an email response that she had received from Senator Obama regarding the Bill. It was such a contrast to the 2 emails that I received from my New York State Senators, Clinton and Schumer!
Clinton and Schumer sent me the usual generic reply email, with nothing specific that addressed the Orphan Works issue. Obama sent an email that discussed the bill and his position! I am posting all 3 email replies here, for anyone that may want to see what Obama says in his. The part that astounds me is that Clinton and Obama are both working senators at this point in time and also working hard in an election, and in this little test, Obama won. He and/or his staff are on the ball. That's what I like to see. I am not really certain of his own personal position regarding the bill, and he quotes info that is common knowledge in the email, so the content is not too striking... But the fact that the email actually was about the subject really hit me.

Clinton:
Thank you for your e-mail. It is very important to me to know the issues
that are of concern to you. A growing number of my constituents are now
choosing to communicate with me via e-mail. I hope you will understand
that, because of the volume and range of e-mails I receive, it can take
some time to send a response that specifically addresses the subject
raised in your message. I do, however, want to let you know immediately
that your message has been received. Hearing from you and others through
e-mail helps me to quickly learn the views and interests of New Yorkers
and others, which is very helpful to me in my work in the United States
Senate. I hope you will continue to monitor my work through my website
at http://clinton.senate.gov, and I welcome hearing from you.

Sincerely,

Senator Hillary Rodham Clinton

Schumer:
hank you for your e-mail. Each and every piece of correspondence I receive is important because it allows me to better understand the New Yorkers I serve in the United States Senate.
As you can imagine, my office receives a great number of messages every day regarding a variety of issues – this is particularly true of e-mails. It makes me proud to know that my constituents take an active role in our government by corresponding with me, and I look forward to responding to your concerns in greater detail. In the meantime, I just wanted to let you know that your e-mail has been received, and to ask for your patience until I send you a more detailed response.
Again, thank you for writing. Please feel free to visit my website http://schumer.senate.gov to follow my work in the Senate and to learn more about the services my office can provide to you.
Warmest regards
[schumer failed to sign the email]

Obama:
Thank you for contacting me with your concerns about the Orphan Works Act of 2008.
You raise some important concerns.

As you know, the term "orphan works" refers to copyrighted works whose owners are
difficult or impossible to find. The U.S. Copyright Office has expressed concerns about the
uncertainty surrounding the ownership of orphan works, and this view has been reiterated
by both copyright owners and users, including artists and libraries. I have heard from
many constituents who believe that this uncertainty discourages subsequent creators and
users from incorporating orphan works into new creative efforts, or from making these
works available to the public.

At the same time, you raise some important concerns regarding the potential implications
of orphan works legislation on the photography and visual image industries, including
many of my constituents who are photographers, illustrators, and graphic artists. It is
often exceedingly difficult to find the copyright owner of a visual image, generally because
the name of the image's creator is not on copies of the work distributed to the public.
Thus, there is a real danger that the works of some of these artists might be inaccurately
labeled orphan works.

As you know, this danger exists whether or not new legislation addressing orphan works
is passed. However, I do understand your concerns regarding the new compensation
mechanism proposed for orphan works use.

The Copyright Office has proposed that in most cases, including all commercial uses, the
user of an orphan work would be obligated to pay the copyright owner "reasonable
compensation" for the use prior to the time the owner resurfaces. Also, the user will
generally be unable to continue making use of the work after the owner asserts his
copyright. The problem is that litigation costs associated with asserting this right to
"reasonable compensation" may be prohibitively expensive for many copyright holders.
This critical point should be taken into account in ongoing discussions over orphan works
legislation.

S. 2913 was introduced on April 24, 2008 by Senator Patrick Leahy (D-VT). It was referred
to the Judiciary Committee for consideration. A companion measure in the House of
Representatives, H.R. 5889, was approved by voice vote on May 8, 2008, by the
Subcommittee on the Internet and Intellectual Property. While I do not serve on the panel
considering the Orphan Works Act, you can be sure I will remember your concerns should
this bill come before the Senate floor.

Again, thank you for contacting me regarding this important issue. Please stay in touch.

Sincerely,

Barack Obama
United States Senator

Nall -As Seen on Myartspace

I read this informative article about a southern artist from Troy, Alabama named Nall. He was noticed by the good people at myartspace, and they have an interview with him on their blog. This oh-so-lucky man was able to study with Dali and work in a studio that was owned by Jean Debuffet!!!


His work is a conglomerate of mosaic, with a dash of painting working up to glorious collage and I find myself once again wanting the ability to see his work up close, to feel the texture...Good strong deep stuff. He has started the N.A.L.L. art association (Nature Art & Life League) and there is so much more to be found here at the website. There's a lot to view. It's worth some time to read about this man that is working to bring something back to the art world that has been so gracious to him, and to the artists in Alabama, with whom he feels a kindred relationship.

I think I found the Alchemy gallery the most compelling, but with so much good work, making a choice for favorite wasn't easy.

Puzzling Collage / Love = Love

An interesting exhibit is showing at Jen Bekman, in NY. This is an exhibit of large-scale photographs of collage works done by Ken Rogowski using various puzzles that were cut from the same die, and then reassembled to form these new works. I like the self-imposed structure of these. By that, I mean I enjoy looking at the rules that artists force upon themselves as they struggle with creativity. I think this must be the very "restraint" that Matthew Barney is so fascinated with in his lifelong Drawing Restraint series. Do these personal rules help us rule out some of the variables that could exist within our own depictions? Interesting idea. I think it may. I know I am always coming up with restrictions that end up making art more of a game at times, and this thrills me for some reason that only the child in me understands. (for example, my own personal use of rather monotone-istic color palettes.)
But, something is puzzling me. (pun intended!) I do have a question regarding the use of the photograph of the collage as the show, instead of the collaged puzzles themselves. According to the press release on the Bekman site, "In photographing his completed objects, Rogowski transforms them yet again. Shifting the scale of the photographic image modulates the grid-like uniformity produced by the borders of the puzzle pieces, diminishing or increasing the order they exert over the chaos of the constructed image."
Of this exhibit Bekman says, "First and foremost, the layers of his process are a meditation on the photographic image as an object, rather than as a document."
Would the message that the viewer received from the art be the same, whether the artist exhibited the collages themselves at actual size or whether he exhibited large scale photos of the collages? Is the larger than life image somehow altering the message, the meaning? I just am curious, in view of the fact that these very large projects seem to be popular lately. i. e. Jeff Koons and his large sculptures in NYC.

Kent Rogowski at Jen Bekman
On view May 7 - June 14, 2008

BTW, Bekman is sponsoring a super cool looking photography contest...find out more here Hot Shot!