• Scottish National Gallery: Challenging the customary timeline of collage.
• Sabine Remy’s talk about her collage-a-day residency in Georgia.
• Teri Dryden’s art is rooted in collage and never left it behind.
• Investigate this open submission collage competition.
• And now, for only the most hopeless of Schwitters devotees.
My thanks to everyone responsible for all the content at these links.
Zur Beachtung!
collage miniature by J A Dixon
6.375 x 7.25 inches
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“What’s important is striving to detach progressively from the most obvious earthly rewards — power, fame and status, money — even if you continue to work or advance a career. The real trick is walking into the next stage of life, Vanaprastha, to conduct the study and training that prepare us for fulfillment in life’s final stage.”
— Arthur C Brooks
Having recently read this widely circulated admonition of Brooks, I honestly have not looked into what Vanaprastha is. Nevertheless, conditioning oneself to be increasing less concerned with external reinforcement makes perfect sense, especially if youth is a distant image in the side mirror (or even if it’s closer than it appears). Visual artists (not bloggers) probably are more equipped to handle this than people who have spent the bulk of a lifetime overly attached to outer compensations. Those of us driven by a creative impulse typically don’t expect power as a byproduct of accomplishing goals, or high-status recognition. Most of us would still pursue our passion, even if money never became a meaningful part of the equation. But the pitfalls are there, regardless. Let’s challenge ourselves to make art as if nobody will ever see it, or buy it, or bestow upon it yet another jot of devalued online praise. It might get interesting.
One’s Own Priesthood
collage on book cover by J A Dixon
6.125 x 8.25 inches
(I’m trying not to care what you think.)
I’ll buy it anyway.
Flatulent Earth
collage catharsis by J A Dixon
5.5 x 8.5 inches
part of the disrupt climate disruption activity
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“I go to nature every day for inspiration in the day’s work.”
— Frank Lloyd Wright
After much too long a hiatus, I finally got back on location with the PAACK to resume my project to create collage en plein air. Setting out in the morning seemed like a “forced march,” including unwarranted worries that I’d forgotten something essential, but as soon as I got to the nearby Scott estate, I was at home scouting for a place to sit. The environment and hospitality were both exceptional. With the grounds in ideal shape, 
our hosts had offered many inviting points of view. Relying on my card with a square cutout, I fixated on a cluster of three outbuildings that would provide some desired depth (which I then proceeded to compress in space). I also was looking for a good opportunity to continue developing my technique for trees. I made a conscious effort to back off from a previous “fastidious” style and to evolve a looser method of “painting in papers.” I resisted concerns about the end result whenever I discerned a now-familiar tendency to tighten up. It was a solid, productive outing during the hottest chunk of a fine summer day.
An enjoyable discussion with the owner revealed the detail I would need for a fitting title. It was quite possible that the old, white-washed brick structure central to my composition had been the storehouse for a tannery in early Danville, 
one of the original pioneer settlements in Kentucky. The small piece turned out to be a 50%-50% location-to-studio allocation. This same time formula (which still allows for a legitimate plein-air designation) was applied to another miniature that I finished next, a scene that overlooked a spot on Main Street (here in downtown Danville). The artwork was something I’d commenced before a knee injury sidelined my plein-air activity last year. After a double session in the open, I’d always intended the piece to be a hundred-percent outside solution. I surrendered that idea and decided to pull it out of storage for a studio conclusion, in order to make the deadline for our annual group exhibition. In a future entry, I’ll delve into additional aspects of what I’m discovering about this process and a few of the helpful techniques that I’ve learned.
The 2019 En Plein Air show is currently on display until the end of August. An opening reception this Saturday evening coincides with a festive name-change event for the local arts venue — now to be identified as Art Center of the Bluegrass. The prominent facility in a former federal post office has always felt like a “home stadium” to me, ever since my first solo collage exhibition was held there, not long after the building was acquired and restored as a focal point for the arts. Long-time followers of this humble blogsite will know that it has surfaced regularly in the yearly roster. My best to everyone on deck at this institution, as you chart new waters for a valuable community resource.
Perhaps a Tannery
plein air collage miniature by J A Dixon
7 x 7.25 inches
• S O L D
Across Main
plein air collage miniature by J A Dixon
7.875 x 9.125 inches
• S O L D
“Anger is a very limiting emotion. There’s not much you can do with it. There’s no hope in it.”
— Wendell Berry
There was a time when the arts may have held the capacity to alter the world around us. From time to time, music probably has. Perhaps the dramatic arts, too. The oral and written arts of language certainly have, and they remain highly consequential, but the notion that those engaged in artistic “visual statements” can affect society is an illusion. The early 20th-century avant-garde believed they could, and maybe they did to some limited extent, while the attention of a less distracted elite was seized. At any rate, this innovative class took what they had absorbed, rejected much of it, and cultivated the vocabulary of the modern art forms which influence the bulk of what artists do today. And almost all of what we do now has very little if any catalytic effect on evolving civilization — especially if it was overtly intended to do just that. But make no mistake about it, “message art” has been, is, and can be a significant catharsis for creative individuals. Rest assured that it will reinforce solidarity among people of like mind. It can also be relied upon to irritate many of the others.
Taboo Faction
collage catharsis by J A Dixon
8.125 x 11.5 inches
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“Mastering music is more than learning technical skills. Practicing is about quality, not quantity. Some days I practice for hours; other days it will be just a few minutes.”
— Yo-Yo Ma
Mombo gets a lot of junk mail — a ridiculous amount — but, at the age of 94, she is long past having any interest in it. When I care for her, the current stash provides scrap for compositional studies created while she rests.
We all need to practice something, don’t we?
Untitled (cyclopea)
collage experiment by J A Dixon
7.5 x 7.5 inches
not for sale
“I never plotted anything out. I don’t believe in storyboarding. I think you have a very dull-looking movie. You have to take advantage of the moment. I’m the kind of person that loves what we call the fog of war. That when things are going, and opportunities present themselves, you use them, you know, and there’s a fluidity that occurs that way. Now, I’ll go to all the locations. I know what I’m going to shoot, and where I’m going to shoot it, but I’m always ready to change. I’m always ready to adapt to the situation as it develops, and I think that there’s a certain organic quality that occurs then.”
— John Milius
The incomparable Milius was obviously talking about his approach to crafting a film, but I find his description entirely appropriate when discussing the art of collage. There must be a balance of careful research, discernment, and preparation — to set in readiness the potential ingredients — combined with a difficult-to-articulate sense of walking into the studio with absolutely no idea what will happen next, or how one might adjust the wheel to a different point on the compass. He puts it into words as well as anyone. If current movies — or any art form based on visual montage — look more contrived than ever, all the clues we need to know why are in that quotation.
Aggravated Dissent
collage on pasteboard by J A Dixon
7.5 x 11.5 inches
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It does seem like a very long time ago . . .
As We Knew It
collage miniature on book cover by J A Dixon
5.5 x 8.5 inches
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“Two halves don’t make a whole. Two wholes make a whole.”
— Jason Mras
Although I was not able to insert Kolaj Fest into my summer plans, I’m commiserating with the many collage artists who had their expectations disrupted by tropical storm Barry, including “virtual friends,” Allan Bealy, Janice McDonald, and Andrea Burgay. 
As I think about them and the truncated event in New Orleans, it occurs to me that I never posted images of my 2018 collaboration with Bealy, when I joyfully participated in his HALVES project.
Leave it to Allan to explore yet another type of creative joint venture with a diverse group
of partners. I knew from our previous collaboration that we could use the other’s stimuli to great benefit. After I received Allan’s starts, I waited until I’d sent him mine (this one with an Abyssinian cavy, and this one with roasting pans) before I finished my half of each lively “conversation.”
Like many of you, I’m astute enough to recognize that this guy is not only one of the most prolific and fluent practitioners within our medium, but also that he has continued to help shape the meaning of contemporary collage collaboration for our generation. I hope you’ll find these particular juxtapositions intriguing, and I look ahead with anticipation to seeing what he might do with the numerous artifacts that were generated by his stimulating concept.
Untitled (body language)
a collage miniature collaboration by J A Dixon and A Bealy
(start by Bealy, finish by Dixon)
part of the HALVES series
Untitled (a proper apricot)
a collage miniature collaboration by J A Dixon and A Bealy
(start by Bealy, finish by Dixon)
part of the HALVES series
MELD
a collage miniature collaboration by J A Dixon and A Bealy
(start by Dixon, finish by Bealy)
part of the HALVES series
MELD2
a collage miniature collaboration by J A Dixon and A Bealy
(start by Dixon, finish by Bealy)
part of the HALVES series