Happy Birthday to Meg Higgins, an exceptional collage artist!
Love of Beer
collage on Samuel Adams coaster, 4 x 4 inches
Haus of Cards, series Pi, J A Dixon
collection of M Higgins
Archive for the ‘Artists/Collage’ Category
Wednesday, February 7th, 2018
details of Wetland
Monday, February 5th, 2018“It’s always better not to talk about it. Just f—ing do it. Don’t ’splain it. Especially if you’re getting away with it.”
— Harrison Ford
I stopped by the exhibition where Wetland is on display and made a few phone-camera croppings. I guess that I wouldn’t have a blog if I usually didn’t like to talk about my work, but, since I’m not in a wordy mood, I’ll let the images speak for themselves this time. Thanks for looking! The show in downtown Danville lasts until February 24th.
Wetland (five details)
collage landscape by J A Dixon
21.25 x 19.25 inches
on structured panel, framed
available for purchase
Star Baby Feline
Saturday, February 3rd, 2018
Star Baby Feline
collage miniature by J A Dixon
4.25 x 4.25 inches
private collection
a salute to the 70th birthday of Burton Cummings
Suspend this series?
Sunday, January 28th, 2018“When I begin a new work, I have to start from scratch again, from nothing. I have to be cleared of everything: Tabula rasa.”
— Arvo Pärt
Suspend the Bibelot Series? It doesn’t look like it. I begin a collage artwork with no preconceived notions and before long it appears to be a “bibelot.” Spontaneity apparently works that way, revealing some unmet creative urge that is removed from conscious awareness. Shall I ever purposely end a particular series? More likely than not, I’ll just come to the conclusion that there are no more variations on that theme with a need to emerge — until I am proven wrong.
Suspend (Bibelot 013)
collage miniature by J A Dixon
4.625 x 4.625 inches
Purchase this artwork.
Haus of Categories
Monday, January 22nd, 2018“As an art of its time, collage art — its imagery, its techniques, its attitude — speaks to our confrontation with a fractured multifarious image of the world in an age of information overload. The activities of sifting, sorting, organizing and prioritizing has become the basis and the goal of artistic activity in this hummingbird era of ADHD”
— Cecil Touchon“A light bulb in the socket is worth two in the pocket.”
— Bill Wolf
Categorization is integral to the practice of collage. It is part and parcel of the ongoing acquisition, storage, and retrieval of compositional ingredients. I doubt if there is a dedicated collage artist out there who does not possess a particular method of processing the studio material that results in a work of art. We do relish the hunt, and, to some degree, we enjoy accumulation for its own sake, but, more than that, we like to be able to find our stuff when we want to use it.
Not long ago, Allan Bealy brought an article about the library of Vito Acconci to my attention. Like many artists, I devised a method of classification early in life and refined it over the years, and I found benefits in developing a “morgue” according to my own “creative code” rather than adopting a predetermined system. In whatever way we catalog it, we must be able to access the ingredients we need without impeding a flow of intuitive spontaneity. My studio repository began as a few “youthful” files of tear sheets that simply caught my eye as catalytic images. With the demands of professionalism, it grew into an illustrator’s resource that spared me many a trip to the public library. It mushroomed over time and finally evolved into a collage artist’s stash, with many subdivisions (such as antiquity, language, creatures, environments, attire, icons, themes, botanicals, patterns, vintage, surreal, and cosmic).
Individualized categories also help me to organize self-perceptions of what I make, even if these “sets” or “series” make limited sense to others. Although crafting personal greeting cards continues at a significantly reduced rate, I can now look back on the life-long activity as a key practice in my transition from applied to fine arts. It has had a strong influence on how I codify work that typically begins with intuition and ultimately ends with inclusion within some sort of idiosyncratic classification.
Please examine seven images recently created for my outgoing cards (with their designated categories). Some are considered hybrids (for lack of a better term). Those with an interest can find more at The Collage Miniaturist with this link and its associated archive.
Long live John’s Haus of Cards!
BodoMason
collage greeting card by J A Dixon
series Omega/Pi hybrid, collection of W Bates
Eagle Nest Goddess
collage greeting card by J A Dixon
series Pi, collection of J Hellyer
Existunt
collage greeting card by J A Dixon
series Omega, collection of R W Breidenbach
G is for Gray
collage greeting card by J A Dixon
series Omega/Pi hybrid, collection of G Zeitz
Nurse Saw It
collage greeting card by J A Dixon
series Pi, collection of R K Hower
IcogNeato
collage greeting card by J A Dixon
series Omega, collection of J M Hoover
O Lovely Perch
collage greeting card by J A Dixon
series Omega, collection of W W Barefoot
Wetland
Monday, January 15th, 2018“When you take risks you learn that there will be times when you succeed and there will be times when you fail, and both are equally important.”
— Ellen DeGeneres
Although it was created in the studio, my new collage landscape titled ‘Wetland’ benefits from a summer of plein-air activity. My “painting with paper” out of doors 
has opened a rewarding area of investigation for my work as a collage artist. I’m pleased to share this piece with the art-viewing community at my first invitational exhibition of the year, the annual New Year New Art show at our Community Arts Center, just a biscuit toss from my home base in downtown Danville, Kentucky. This event has been a fortifying tradition for regional artists, because we can complete our year of work at a risk-taking level, and still know that the result will get a prominent public display.
An artist working outside a metropolitan center could not ask for greater support from a local institution.
Based on an excellent photograph by a longtime pal, this artwork was created as an entry for a contemporary landscape show, but the juror rejected it for unknown reasons. I kept it handy for a pair of upcoming open studio events (my participation in the Central Kentucky ARTTOUR and Gallery Hop Stop). Plenty of praise ensued, but nobody took it home, so I decided to make additional refinements, leading up to the deadline for the January exhibition. A full makeover was unnecessary, as the in-process image above indicates. However, I was not entirely pleased with the vegetation at the waterline, above the dark shadow that spans the composition. In this case, less was not more. Additional ‘foliage’ was needed. I also thought that the lower right corner was too abstract. The desired sense of realism would profit from a more detailed foreground. Late-season ironweed, a favorite of mine, seemed a suitable choice. That led intuitively to a few closing decisions in the sky reflection and distant terrain. 
Nearly all of the ingredients were infused with wheat paste and press firmly onto the evolving surface with polymer gel. After thorough drying, selected areas were lightly sanded and the total surface evenly daubed with a flat sealant.
It is very satisfying to work with a palette of elegant papers, and I am fortunate to have them. Some of you may remember (especially those with a background connected in some way to the graphic arts) the pre-internet days of a more diversified paper industry. Numerous mills and distributors slugged it out in a highly competitive market. Inkjet printing was still on the horizon and multi-color offset printing was expensive. Printing on colored stock was a cost-effective way to get more color into published material. Paper producers went out of their way to demonstrate creative ways to use colored paper and many of us who specified paper for printing projects were lavished with promotional samples. Decades later, I still have a stash from that era, and I rely on it now for my plein-air miniatures and studio landscapes. A piece such as ‘Wetland’ puts this hoard to good use; it would not look the same with scrapbook or construction paper. The richness of premium papers manufactured for fine printing were accented with fragments of dulled foil, tissue, scraps of found packaging, and fragments of typography. After all, it’s meant to be a collage artwork!
The opening reception for NYNA is this Friday evening, 5 to 8 pm. Perhaps I shall see you there to discuss ‘Wetland’ in person.
Wetland
collage landscape by J A Dixon
21.25 x 19.25 inches
on structured panel, framed
available for purchase
Top collage artists I never even knew about !!!
Saturday, January 13th, 2018“I have always tried to exploit the photograph. I use it like color, or as the poet uses the word.”
— Hannah Höch
It is always a temptation for a so-called blogger to dangle a “best of” or “top twenty” list to entice a visitor, and, of course, we see this tactic used almost on a daily basis in various fields of art and entertainment. How many of us have gone online and swallowed just such a colorful lure? On the most obvious level, the whole stimulus-response thing is a bit silly, but the potential to learn something new does exist, or to sharpen our own sense of quality, preference, and discernment. Each of us is free to have viewpoints, as long as we recognize them as personal opinions, and avoid casting them about as certitude. Isn’t there enough of that going on these days? (Yes, dear guest, that is merely my perspective.) 
What does this have to do with collage? Well, I just paid a visit to a page at AnotherMag.com (in response to the aforesaid bait), and I learned for the first time about three collage artists who were new to me, a working artist who purports to ruminate on “all things collage.” In this particular case, there may have been an explicit effort to achieve an overdue gender balance for a post intended to spotlight the Höch retrospective at the Whitechapel Gallery in London, but one could question the absence of Paolozzi, Rauschenberg, Johnson, Hamilton, or Kolář. To not include at least one of these men as a key figure in the history of collage brings no meaningful discredit on any of the artists, but only on the list. (And that, too, is just my opinion).
Nevertheless, I am not ashamed to accentuate the gaps in my collage literacy and to feature three noteworthy female artists: Eileen Agar, Nancy Spero, and Annegret Soltau. Examples of their work should have appeared here long before now.
Woman reading
by Eileen Agar, 1936
Museum of New Zealand
Protagonists
by Nancy Spero, 1989
disposition unknown
Grima – mit Katze
by Annegret Soltau, from her 1986-97 series
Vero Group Collection, Houston, Texas
Something worth thinking about
Monday, January 8th, 2018“Whatever comes to mind is a good thing. Don’t think before you work, work before you think.”
— George Condo
As collage artists, we respond to the visual ingredients. Twyla Tharp calls it “scratching.” It has been described by various artists over the decades: Don’t wait for an idea. Don’t spin a mental wheel. If you are a storyteller, write some words. If you are painter, work the brush. If you are a dancer, let movement happen. At any rate, just go to the studio and do what you do. React to what takes place. Before long, there will be something worth thinking about.
Fairy Ring Flux
collage miniature by J A Dixon
4.6875 x 4.6875 inches
Purchase this artwork!
Year Five: a new “Janus Project” in the works?
Tuesday, December 26th, 2017“There are, it seems, two muses: the Muse of Inspiration, who gives us inarticulate visions and desires, and the Muse of Realization, who returns again and again to say ‘It is yet more difficult than you thought.’ This is the muse of form. It may be then that form serves us best when it works as an obstruction, to baffle us and deflect our intended course. It may be that when we no longer know what to do, we have come to our real work and when we no longer know which way to go, we have begun our real journey. The mind that is not baffled is not employed. The impeded stream is the one that sings.”
― Wendell Berry
Someone once opined that “since most people feel that the world gets worse, not better, the only basis of genuinely popular art is nostalgia.” There may be some truth in that. However, one could recall examples of entirely new things gaining wide popularity, too, especially in music. The visual artist must accept that most people will never grant them the position that they ascribe to musical and culinary artists, because nothing in life will supplant music and food in their daily routine of emotional attachments (although, with the current explosion of binge-on-demand streaming entertainment, other creatives may be poised to achieve a similar status).
When I reflect on my fifth year of musing about collage at this blogsite and look ahead to the next, I realize just how much work there is in front of me to puzzle through some of these ideas.
Like many artists, I hope to juggle goals that may at first seem in contradiction: to attract patrons, to inspire colleagues, and to please myself. I don’t see any way to approach it other than to balance elements of our past (the appeal of the nostalgic), our present (the lure of the trend), and our future (the surprise of the new). How convenient that balancing elements in Janus-like fashion just happens to be my craft!
In all seriousness, collage (and the related montage-inherent media) are almost uniquely suited to the challenge at hand, and perhaps that is why post-centennial collage is becoming a worldwide phenomenon in the 21st. Diving more deeply into this quandary will provide ample food for thought in the coming year. Meanwhile, I shall make more!
Nikki Soppelsa
Look ahead to a discussion of “ultra miniaturism” in collage.
Robert Hugh Hunt
Stay tuned for a review of contemporary collage abstraction.
Terry R Flowers
Is it time to peruse the long history of humor in collage?
Kurt Schwitters
And I shall never tire of studying and sharing the work of KS.
Merry Merry!
Tuesday, December 19th, 2017
Cyborg Santa
John’s Haus of Cards!
collection of J M Strock, Jr