• Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Kat Schneck
      Washington Post, 2010
      newspaper ink transferred onto silly putty in a glass jar
      8.75 x 4.5 x 4.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Molly Heron
      Tottering, 2011

      repurposed latex recycled petri dishes
      7.5 x 4.5 x 4.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Justyn Hegreberg
      Green Cracked Surface with Bisected Frame, 2011
      acrylic plywood found frame
      10.5 x 8 x 1.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Erin Elizabeth
      Nothin’ But a Number, 2011
      recycled mail on panel
      5.5 x 5.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      James Scott
      untitled, 2012
      acrylic ink graphite on laser-cut watercolor paper mounted with insect pins
      15.375 x 23.875 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Polly Yates
      Untitled (Spill), 2011
      screenprint collage on paper
      13.5 x 12 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Marianna Williams
      Hotdog!, 2010
      digital collage inkjet print on paper
      6.375 x 10 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Coalfather Industries (Craig Newsom and Kara Jansson)
      Lamentation (Version B), 2011
      film stills, digital video, projected, looped dvd 3:12 minutes

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Edward Ramsay-Morin
      Away We Go, 2009
      film stills, digital animation, projected, looped dvd
      3:11 minutes

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Jennifer Revit
      Trilogy, 2009
      film stills, digital video projected looped dvd
      6:32 minutes

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Henry Gwiazda
      Hanging……Words, 2004
      film still, digital animation, projected, looped dvd
      6:35 minutes

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Rachel Hibbard
      March on the Homefront, 2011
      inkjet print
      19 x 22 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Andrew Ellis Johnson
      Formal Graffiti p.28 Djim (Metal), 2011
      archival color inkjet print
      30 x 22

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Kelly Hider
      Whirling Dervish, 2011
      inkjet print of scanned collage glued rhinestones
      31 x 30 inch

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Susanne Slavick
      Tending the Embers, 2009
      gouache on archival digital print Hahnemühle
      6.33 x 10 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Marianna Williams
      Stop Right There, Pilgrim., 2010
      digital collage, inkjet print on paper
      6.375 x 10 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Angela Piehl
      Crest/Fallen, 2009
      digital collage from scanned watercolor images, pigment print on archival paper
      22 x 17 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Kate MacDonald
      Chernobyl Spring 1986: The Lovers Billboard #1, 2011
      digital collage, inkjet print
      16 x 20 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Robert Koss
      Blond Extension, 2010
      digital collage, inkjet print
      15 x 20 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Amy Ragus
      Windmill - Auvillar, France, 2012
      digital collage, archival inkjet print
      27 X 18 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Michelle Word
      Droseraceae, 2010
      collage, mixed media on birch panel box
      48 x 48 x 4 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Pat Lay
      BA-E-VO-A #6, 2010
      Epson archival ink on Epson archival paper, mounted on archival museum board, MDF with wood backing
      74 x 34 x 1.75 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Strange Glue No.1.139

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Beverly Sky
      Flowering of The Buddha Mind: Transcendence Over Life and Death, 2010
      fabric collage on canvas
      60 x 48 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Elizabeth Bisbing
      In a Tangle, 2011
      gouache, gold foil on paper
      12.5 x 10.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      David Grainger
      Glenn Beck in Ice, 2011
      watercolor, Bristol paper, gaffer tape, mounted on foamcore
      24 x 19 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Peggy Schutze Shearn
      Working Class Heroes, 2011
      acrylic, collage on paper, mounted on wood
      22 x 30 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Jane Dell
      It’s Different Now, 2011
      watercolor inks, graphite, photo collage on Mylar vellum
      23.5 x 18 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Aspen Golann‘ 05
      Self Portrait with Aunt Helen and Bird, 2010
      photograph taken with large format film camera
      14 x 11 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Adrienne Der Marderosian
      Ballad of Reason, No. 1, 2010
      diptych collage, pencil on paper
      10 x 8 x 1 inches each

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Adrienne Der Marderosian
      Ballad of Reason, No. 2, 2010
      diptych collage, pencil on paper
      10 x 8 x 1 inches each

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Stacey-Robin H. Johnson
      Don’t Call Me ‘Baby’, 2010
      torn paper, transfer, acrylic paint on paper
      18 x 14 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Jaye R. Phillip
      ReConstruction, 2011
      pigment print
      9 x 12.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Larry Caveney
      Jam Master Johnny Finally Gets His Check, 2011
      rubber stamp and ink, magazine clippings, reproduction of Jam Master Johnny, some areas sanded with electric sander
      13 x 15 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Jennifer Hines
      Glands, 2011
      collage, embroidery, watercolor on handmade paper
      19 x 13 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Louise Laplante
      Eyes on Me, 2011
      encaustic on panel
      8.5 x 11 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Lynn Skordal
      The Bridegroom, 2011
      inkjet print, collage on paper
      10 x 8 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Kendall Schuller
      Weapons, 2011
      magazine cutouts on Bristol board
      14 x 11 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Juan Juarez
      Suspension (Plywood OOH-RAH) 4, 2011
      flatbed scanner photograph on aluminum panel
      32 x 24 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Wendy Seller
      Irish Gal, 2011
      digital collage, pigment print
      20 x 18 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Kari Scott
      You Are What You Eat: Cookies, 2009
      cookie crumbs on birch plywood
      4.25 x 2.5 inches each

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Kari Scott
      You Are What You Eat: Candy, 2009
      Necco wafers on birch plywood
      4.25 x 2.5 inches each

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Kari Scott
      You Are What You Eat: Cocoa, 2009
      cocoa powder, sugar on birch plywood
      4.25 x 2.5 inches each

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Kari Scott
      You Are What You Eat: Sugar, 2009
      sugar on birch plywood
      4.25 x 2.5 inches each

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Kari Scott
      You Are What You Eat: Cake, 2009
      cake mix on birch plywood
      4.25 x 2.5 inches each

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Nadine Boughton
      Evening News, 2009
      digital collage, archival inkjet print
      11 x 18 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Kathryn Johnson
      Gusher, 2011
      silver leaf, graphite, collage, vinyl, paint transfer on paper
      40 x 26 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Keith Maddy
      Leisure Wheel, 2011
      vintage textile, acrylic, resin, thread, vintage paint-by-number cups, vintage coat button on wood
      7.75 x 7.75 x 1.25 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Merrill Steiger
      Collision, 2009
      collage on paper
      16 x 20 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Merrill Steiger
      Collision, 2009
      acrylic on canvas
      16 x 20 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Cory W. Peeke
      Temple, 2011
      found materials on antique photograph
      5.75 x 3.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      David Chapman Lindsay
      Allegory of Venice, 2007
      oil paint on canvas on wood
      32 x 19 x 19 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Bill Gusky
      Synchrovision Showcase of Luxuries, 2010
      acrylic on canvas
      72 x 52 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Erik Von Ploennies
      No More Sunshine, 2011
      acrylic, graphite, charcoal, oil pastel, newspaper collage on canvas
      24 x 20 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Tom Hébert
      Triple Tumble (Trashing Skies Series), 2012
      paper collage on panel, inlaid to linoleum tile
      28 x 20 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Elizabeth Kellogg
      It Was Kind of You To Come, 2008
      collage and image transfer, ink, paint, charcoal, dirt on Masonite
      20 x 16 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Nancy Baker
      Take Out, 2011
      collage, glitter, matte medium, acrylic, archival digital inkjet prints on board
      16 x 20 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Keith Maddy
      One Snip at a Time, 2011
      vintage papers, child’s suitcase on matboard
      9 x 7 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Robert Lobe
      Pink Sneaker (Found Collage), 2010
      archival pigment print
      12 x 16 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      C. Matthew Luther
      Oil-Fouled Marsh, 2011
      inkjet print, oil-based monotype, gouache, collage on Arches
      24 x 38 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Karlyn Atkinson Berg
      Butterflies and Hawks, 2011
      paper collage, pencil rubbing, gouache, pastel on paper
      6.5 x 4.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Dianne Baker
      Centric, 2009
      wood, sandpaper, metal
      9 x 7 x 6 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Dianne Baker
      Centric, 2009
      detail

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Mike Bennion
      She Shall Have Music, 2012
      porcelain, metal, wood
      19.685 x 14.75 x 7.75 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Mike Bennion
      She Shall Have Music, 2012
      detail

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Tony Wells
      Neighborhood in Sunlight, 2009
      magazine cutouts on cardboard
      20 x 27 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Lance Johnson
      Ode to Hip Hop, 2010
      paper, acrylic on paper
      13 x 10 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Anna Fine Foer
      Tower of Babble, 2011
      collage, watercolor on Arches
      24 x 20 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Anna Fine Foer
      Tower of Babble, 2011
      detail

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Ann Miller
      Spore Vine, 2010
      collage, painted paper on paper
      20 x 13 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Anna Mogilevsky
      Nature’s Highway, 2011
      acrylic, ink, graphite, felt, gouache, paper
      17 x 80.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Anna Mogilevsky
      Nature’s Highway, 2011
      detail

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Renna Mae Zimmer
      Bathing Beauty, 2009
      paper, glue on paper
      17 x 14 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Mery Lynn McCorkle
      Dinoflagellate Glenodinium Foliaceum, 2011
      glitter, acrylic on papers, mounted on board
      16 x 12 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Esmé Thompson
      Incontriamo, 2008
      collage on paper
      24 x 14 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Megan Coyle
      Morning Coffee, 2010
      magazine cutouts on paper, mounted on matboard
      24 x 18 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Michael Ryan
      untitled, 2011
      pencil, gesso, acrylic, charcoal, ink, pva glue on paper, vellum
      17 x 23 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Mariannic Parra
      Light in Prisms XI, 2011
      Plexiglas, volcanic sand
      19.5 x 19.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Claudine Metrick
      Drift, 2011
      acrylic, collage, charcoal, mounted on luan
      24 x 24 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Deborah Read
      A Fine Day, 2010
      ink on Sumi paper, over oil on canvas
      40 x 30 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Betsy van Die
      Wings Fire, 2010
      acrylic, pastel, charcoal, found objects on panel
      12 x 16 x 1.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Masha Ryskin
      Crunch, 2010
      intaglio on silk tissue, graphite, acrylic, collage on clayboard
      8 x 8 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Susan Newmark
      Fantasy Land at Dyker Heights, 2011
      collage, acrylic paint on paper
      38 x 25 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Jeffrey Robinson
      Regeneration, 2011
      carpet padding, cardboard, paper, oil, acrylic on panel
      36 x 36 x 2 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Marnie Jain
      Exchange, 2011
      magazine-paper collage
      13.5 x 10 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Mike Piergrossi
      The Mobjack Bay Lower Buffet, 2009
      acrylic, marker, string, collage on canvas
      16 x 12 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Cordula Kagemann
      Oblivion, 2011
      collected paper, magazine photos, inkjet print on transparent paper, thread on watercolor paper
      8 x 6 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Ben Pranger
      Accidental Adventure (Collage #3), 2011
      acrylic, gouache on paper
      17 x 16 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Susan Reedy
      Hindustan, 2007
      vintage sheet music, acrylic, graphite on Arches
      15 x 7.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Benjamin Meyer
      Untitled 01, 2011
      acrylic, gouache, cut-paper collage on paper
      5 x 6.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Zoran Palurovic
      Walker, 1997
      watercolor, collage on paper, mounted on cardboard
      11 x 8.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Robert Leaver
      Assembly 2010-11, 2010
      wood, ivory, cast iron
      11.5 x 11 x 5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Robin Miller
      The Blind Woodsman, 2011
      ink, acrylic, enamel, shellac collage on paper, mounted on glass
      4 x 3.25 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Robin Miller
      Double Corner, 2011
      ink, acrylic, enamel, shellac collage on paper, mounted on glass
      4 x 3.25 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Robin Miller
      Muzzle of Bees, 2011
      ink, acrylic, enamel, shellac collage on paper, mounted on glass
      4 x 3.25 inches each

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Robin Miller
      The Great Eastern, 2011
      ink, acrylic, enamel, shellac collage on paper, mounted on glass
      4 x 3.25 inches each

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Diane DelliCarpini
      Sailing Moons and Fish, 2008
      borrowed images, acrylic paint
      18 x 24 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Janine Nichols
      Braintree, 2006
      layered images, transfers on museum board
      10 x 8 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Wayne Bertola
      untitled, 2011
      vintage papers, salvaged wallpaper scraps, printed
      matter with applied staining on paper 11 x 9 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Jean Winslow
      Secrets of Castelbuono, 2011
      oil, found paper on panel
      32.5 x 23.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Tom Ogburn
      Julia’s Fond Farewell, 2011
      digital collage, inkjet print on archival paper
      10 x 7.75 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Paul Forte
      Vegetal Man, 2005
      collage on medical illustration, enamel on board
      47.75 x 31.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Paul Forte
      Vegetal Man, 2005
      detail

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      W. David Powell
      Canyon of the Heart, 2011
      cut papers from A New Astronomy for Beginners (David Todd, 1897) and Man in Structure and Function (Fritz Kahn, 1943), acrylic, gouache on birch plywood
      9.625 x 7.75 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Marcus Ratliff
      Monument, 2011
      laser prints of engravings, color lithograph, wallpaper, mounted on illustration board
      9.5 x 7.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Erika Lawlor Schmidt
      Intoxicated by Birds, 2010
      collage on Rives BFK
      44 x 30 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Barbara F. Kendrick
      Dangling Proposition, 2011
      collage, ink on paper
      21 x 21 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Edward Coppola
      In the Early Days, 2011
      collage, gouache on paper
      11 x 14 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      China Marks
      A Book of Horses, 2008
      fabric, lace, thread, felt, fusible adhesive, latex paint 19 x 15 x 2.75 inches (closed), 19 x 30 inches (open)

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      China Marks
      A Book of Horses, 2008
      page 1

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      China Marks
      A Book of Horses, 2008
      page 2

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      China Marks
      A Book of Horses, 2008
      pages 3 - 4

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      China Marks
      A Book of Horses, 2008
      pages 5 - 6

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      China Marks
      A Book of Horses, 2008
      pages 7 - 8

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      China Marks
      A Book of Horses, 2008
      pages 9 - 10

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Fran Forman
      Woman on a Journey, 2011
      photographic montage, archival pigment print
      15 x 17 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Lindsay Stern
      Sashay, 2008
      collage, graphite on paper
      15 x 22 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Ruby Rudnick
      Clusterfunk, 2011
      ink drawings collaged on paper
      19 x 25 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Nana Deleplanque
      Collages (9-6) 007, 1989
      collage, mixed media on paper
      6 x 9.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Mike Calway-Fagen
      In Full Sight #6, 2011
      inkjet print from scanned and enlarged collage
      34 x 25 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Colleen Cunningham
      Diamond Baller, 2011
      paper collage
      15.5 x 11.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Daniel Gorostiaga
      Kicked Out, 2011
      photocopies on paper
      10.25 x 7.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Tara Giannini
      Dirge of Decay, 2010
      butterfly, latex, spray paint, paper, dirt, sticks, acrylic, oil paint on panel, artist-made frame
      14 x 14 x 1 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Michael Waraksa
      Sifted in the Annexed Scheme, 2011
      digital collage, inkjet print
      10.75 x 6.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Jason Hackett
      Eclipse, 2010
      hand-formed clay, found manufactured ceramics
      13 x 10 x 5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Jason Hackett
      Eclipse, 2010
      detail

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Mikhail Gubin
      Rendezvous, 2010
      wood, ink on acetate, in constructed wood box with light
      9 x 11 x 4 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Mikhail Gubin
      Rendezvous, 2010
      detail

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Mary Lydecker
      Worcester, MA/Jostedal Glacier, Norway, 2011
      found postcards, acid-free adhesive tape
      4.5 x 5.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Cecil Touchon
      Fluxcase #3, 2011
      plastic case with approximately 50 small boxes commemorating 50 years of Fluxus with various found or fabricated materials, contributed by various Fluxus artists and staff members from the Museum of Contemporary Art, Chicago
      8 x 10 x 2 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Cecil Touchon
      Fluxcase #3, 2011
      contents

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Carol Gove
      KRA1109, 2011
      collage on paper
      6 x 6 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Jeanette O’Connor
      Collage XXXV, 2010
      cardboard, book cloth, found papers, fabric
      5 X 4 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Margaret Suchland
      Postmark n.6, 2009
      miscellaneous ephemera, vintage postcards, black paper, book pages on vintage postcard
      7 x 3.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Lena Wolff
      Constellation, 2010
      collage with powdered graphite, watercolor, pinpricks, hole-punched and handcut painted papers
      30 x 40 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Lauren Kotkin
      Equal, 2011
      collage on paper
      8 x 10 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Mark Younkle
      untitled, 2011
      computer paper, aged material, graphite, on perforated computer printout paper
      11 x 9 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Caroline Maher
      Spread, 2011
      collage on handmade paper
      24 x 32 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Donise English
      Layered Construct 1, 2009
      collage, rice papers, gouache, ink transfer on paper
      13 x 10 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Marcy Pope
      Streets, 2009
      India ink, cloth, acrylic medium on brown craft paper
      36 x 29 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Margi Weir
      In the Wind, 2010
      acrylic, vinyl, resin on panel
      24 x 24 x 1.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Brian Jolley
      Quadrants, 2009
      found cardboard, matchboxes, newspaper, glue, thread
      24 x 20 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Elaine Norman
      City Square – Columbus Circle, 2010
      photo collage, gelatin silver prints
      8 x 8 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Viviane Rombaldi Seppey
      Valley (Belonging Series), 2011
      New York phonebook clippings on paper
      38 x 38 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Georgina Keenan
      Playboy Mandala II, 2009
      cut paper on acid-free cardstock
      20 x 20 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Robert S. Neuman
      Pedazo del Mundo, 1961-64
      graphite, ink, colored pencil, pastel, watercolor, bubble-gum wrappers, tape, cardboard packaging, “G” sticker on handmade paper
      39 x 49 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Nan Fleming
      Wallflower II, 2011
      found metal, screening, paint, wood
      17 x 17 x 9.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Chad Colby
      Polygons, 2012
      collage, colored pencil, charcoal, watercolor paint on paper
      15 x 11 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Virginia Ines Vergara
      Shard, 2012
      archival c-print, photographed torn and arranged lithographs from a folio distributed by the Louvre, c. 1939
      20 x 16 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Christina Massey
      An Art Community, Washington, DC, 2010
      collagraph prints, acrylic, oil, watercolor on canvas and paper
      22 x 30 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Vivian Hyelim Kim
      Multifaceted #2, 2009
      handcut papers, acrylic medium on canvas
      12 x 12 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Paul Forte
      Artist’s Breath, 2008
      sealed bottle on brass stand
      13 x 4.5 x 4.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Cecil Touchon
      Well-Heeled Nude Ascending a Staircase (Fusion Series #3125), 2011
      vintage magazine papers on watercolor paper
      18 x 12 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Deborah Stevenson
      Of Two Minds, 2010
      magazine cover, art magazine photo, mounted to float on matboard
      11 x 8 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Michi Colacicco
      untitled, 2011
      horsehair, oil paint, book pages, mounted on paper
      12.25 x 10.5 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      Dana Gentile
      Mountain Climbers, 2006
      paper collage
      8.5 x 11 inches

    • Collage at 100,colllage,Strange Glue

      Strange Glue (Traditional & Avant-Garde Collage)

      LaThoriel Badenhausen
      P & B Beige, 2007, 2012
      tattoos on used paint cans
      5.25 x 4.25 x 4.25 inches each

Collage at 100—Strange Glue (Traditional & Avant-Garde Collage)

Collage at 100 I/III
 
September 7 - November 20, 2012
 


Collage at 100—Strange Glue (Traditional & Avant-Garde Collage)


A new machine for seeing 1
Florian Rodari
 
The revolution of papier collé 2  
Dianne Waldman
 
It is almost a cliché now, at the turn of the twenty-first century, to remark that the invention of collage has had a greater and more profound effect on twentieth-century art than any other development. 3
Elisabeth Hodermarsky
 
Nostalgia anyone? 4
Joseph Cornell
 
 
 
Collage at 100, a yearlong exhibition series in three parts, honors the centennial of the invention of collage by the Cubist pioneers, Pablo Picasso and Georges Braque. Strange Glue (Traditional & Avant-garde Collage), the first exhibition in the series, assembles the work of more than one hundred contemporary artists who employ myriad approaches to collage. The works on display were chosen to exemplify the richness, power and vitality of a form of human expression that is growing at an increasingly rapid rate. One aim of the show is to vicariously tell the story of the first one hundred years of collage-making through the work on display. In a phrase, it’s the story of the decline of naturalism and the rise of fractured representation.
 
To better appreciate the vast range of approaches to collage, the works on display are divided into art historical sections. Each area may be identified by visually locating a given salon-style grouping or via the written categories provided in the checklist pamphlets and the accompanying catalog. Additionally, the checklist and catalog also provide the names of historically celebrated collage practitioners whose past work seems to be recalled by virtue of the similarity to contemporary artists in Strange Glue. Another aim of the show is to provide examples of art that raise questions about the definition or the limitations of the word collage. Visitors are encouraged to look for examples of collage that are evocative of historic antecedents as well as find examples that seem to signal the need for the definition of the word to expand. To accommodate the unusually large amount of work, the show is split between two sites on campus, the Thompson Gallery and the Red Wall outside the Robin Wood Memorial Theatre—directions to and from both spaces are provided in the checklist booklets. In the spirit of a teaching gallery, the Red Wall grouping was designed without any historical sectioning in written form in order to encourage the application of thought from one site to the next.
 
Though far from being exhaustive in its efforts to tell the history of contemporary collage, Strange Glue aims to not only expose the evolution of the advent of collage into everyday art making vernacular, but to also demonstrate that the act of gluing is no longer a necessity for contemporary collage practitioners. Clearly, that is an odd set of circumstances. How can something that started out being dependent upon glue not need it anymore? As a term, the French word collage—which literally means to stick or glue—expands when you consider the various ways contemporary artists have accumulated, grouped, assembled, edited and affixed materials—of all kinds—as well as fused technologies during the last hundred years. Intellectual, conceptual, emotional, associative, and pattern-based glues, to say nothing of digital glue or the simple act of juxtaposition, are but just a few examples of the different approaches displayed in Strange Glue. Some works, in particular, are a radical shift from Picasso’s and Braque’s original experimentations with pasted paper. As several pieces in Strange Glue emphasize, physical adhesives are only rudimentary possibilities in collage’s ever expanding arsenal.
 
Today, artists explore issues of identity, place, culture, race, memory and conflicts of every sort, a nearly endless list. Obviously, there have been many developments and milestones in collage over the last century. The unexpected layering and multifaceted nature of the collages on display demonstrate that the impetus for combination is much broader, much deeper and much more significant than pasting paper ever could be had it not advanced beyond the first experiments to edit the depiction of space and form. Given that there is no manual and no treatise on how to construct a collage, what did it take for contemporary artists to arrive at this point—cutting and gluing so strangely—as compared to artists just fifty years ago? That question is at the heart of Collage at 100
 
The Quickening of Collage
Widely apprehended and adapted, modern collage began by taking apart the traditional action of observing and depicting nature by showing only bits of it at a time. Often, several vantages were combined simultaneously, which forced a definite amount of visual editing. This intentional fracturing was what gave Cubism its look; a look that compelled generations of artists to expand and take apart everything that was once understood about making art. Cubism gave rise to Futurism. World War I ushered in Dada and then Surrealism. World War II saw yet another major shift with action painting and The New York School, until Pop Art replaced gesture and intuitive expression with contemporary imagery from newspapers, magazines and television. The social upheaval surrounding issues of racism, sexism and elitism during the 1960s spawned a more politically pointed and conceptually minded art after that. Collage seemed to become a vehicle to contain all the things that naturalism could barely communicate within its traditional modes of expression. Thus, each of these historical areas left a wake of shifting attitudes to form new derivations of an expanding collage state of mind. That ebb and flow ensued immediately after collage’s first appearance, and artists quickly evolved collage by increasingly departing from a dependence on depicting semblances of the naturalistic world in favor of showing the overlay, superimposition, juxtaposition and fractured collision of dreams, feelings, ideas, and politically-charged content. For every age that abandoned a particular focus, another age was sure to reclaim it. Throughout the past century, collage demonstrated that it is not constrained by borders, categories or the space-time continuum. Today, the once radical activity of editing nature and fracturing it has evolved to include anything and everything. In fact, the freedom wrought by ceaseless combination has become normalized and thoroughly embedded in contemporary art and culture; just compare the editing of today’s filmography with that of forty years ago and one begins to get a sense of how adept our culture has become at dealing with the barrage of information we now contend with on a daily basis. 
 
However, that acknowledged, it is important to keep in mind that before the movie industry could construct whole films using computer generated imagery (cgi) in the 21st century, before “cut and paste” was a virtual activity and Photoshop® became a household name in the 1990s, before David Hockney reinvented using the camera to form mosaic depictions of the world around him, or David Salle assembled different styles of painting in his polyptych paintings of the 1980s, before Elizabeth Murray redefined the shaped canvas in her early examples of the late 1970s or before Judy Chicago’s triangular shaped installation The Dinner Party liberated women from the pitfalls of historical omission, before the first shaped canvases of Frank Stella in the late 1960s, before Andy Warhol appropriated pop culture to make his screen-print paintings and Richard Pettibone appropriated Andy Warhol’s paintings to make his paintings in the mid-1960s, before Robert Rauschenberg expanded the painter’s palette to include every tangible object in the world in the 1950s, before de Kooning cut up drawings and paintings to rearrange Abstract Expressionist compositions in the late 1940s, before Joseph Cornell cut up extant films to make visually poetic silent movies and constructed boxes using flotsam and jetsam in the 1930s, before Max Ernst painted on and cut up photographs to make Surreal collages in the 1920s, before Kurt Schwitter’s invention of Merz—combining fragments—in 1918, before Marcel Duchamp invented the first Readymade in 1914, or for that matter, the first Assisted Readymade in 1913, before Georges Braque invented papier collé in the summer of 1912 and before Pablo Picasso pasted a scrap of wallpaper with an industrially printed design of chair caning onto his painting Still Life with Chair Caning in May of 1912, collage was already widespread and touched every aspect of human occupation.
 
We take collage for granted. Few know of the lineage of collage’s important milestones—the above list being a meager encapsulation—and it has affected us all. Just try to imagine the amount of times, each and every day, the computer functions “command c,” “command x” and “command v” are used. We collage all day long, 24/7; yet most of us do not even realize the irony of our virtual simulation of a once exclusively tactile process.
 
Collage was widespread decades before Picasso and Braque’s cubist techniques as evidenced in Victorian photo collages and scrapbooks. Moreover, the roots of collage can be traced to the invention of decals, wallpaper, inlaid wood, mosaics, quilts, gilding, and even the first prosthetic, among so many other milestones. Among the oldest instances was the first time humans combined rock to stick with sinew to form a tool, and that first object, constructed in that way, was essentially the first assemblage. And so, the impetus to combine, which we widely refer to as collage, be it with flat papers or physical objects, has been with us for as long as we have been organizing ourselves into groups. 
 
Why then, is 1912 so significant?
 
When Picasso and Braque pioneered the first use of collage in the field of fine art—specifically, gluing things they did not make to their paintings—the act of painting was irrevocably expanded. Although some historians credit Edgar Degas’ The Little Fourteen-Year-Old Dancer as the first modern assemblage—because of the artist’s inclusion of the burlap skirt and cloth ribbon in the original wax sculpture—Still Life with Chair Caning is essentially given due credit as the first collage and first assemblage—collage, because of the pasted oil cloth, and assemblage, because of the continuous rope that acts as a frame. Degas’ assemblage did not inspire subsequent artists to alter their approach to making art; Picasso’s and Braque’s first collages and assemblages did.
 
Within the first year of Picasso’s and Braque’s early experiments with pasted paper, artists in Paris and those who were visiting witnessed the drastic changes in drawing, painting and sculpture, which despite being naturalistic and referential, became virtually unrecognizable compared to each respective medium’s traditions. Furthermore, one hundred years ago, without the use of the Internet, word of collage had spread to several European countries and Russia before the close of the second year after the appearance of paper on painted canvas. That one act gave permission to abandon the reliance on paint in an ever quickly advancing society of change. Art movements such as futurism and Dada adopted collage as either one of or as the main vehicle of artistic expression. Collage was the perfect process to respond to the flurry of developments we are still experiencing at a dizzying pace today. And since then, the culture of the art world has dramatically changed, too. For one thing, the cult of male-dominant artists that is given credit for most of the major shifts in collage, has rightfully become less male-centric. In fact, just under two-thirds of the art in Strange Glue is made by contemporary female artists, which is a strong contrast to even just a handful of decades ago.
 
Collé Age
What do we call a work made by pressing Silly Putty® into more than one newspaper page to form a composite image? How are we to consider art that is digitally assembled and altered? How do we approach art that copies another work of art? How are we to categorize a work made by cutting away paper but not gluing anything else to it? What do we make of a work that tears up other works only to photograph it and put the photo of the arrangement on display? Is recycling art? How can we define a work that places fractured imagery over a repurposed object? Is gluing sand collage? Is a digital photograph of cut paper on a couch a collage? And what do we do when what artists are coupling is intellectual and not physical material? How do we contend with sur-referential and non-resembling conglomerate imagery? One hundred years ago artists put things that that did not originate in their studios, industrially fabricated things, onto the surfaces of their art. But today, artists are making paintings, cutting them up, scanning the cuttings, then rearranging the pieces digitally using scanning and imaging software to print what can easily be duplicated in our age of mechanical reproduction, and that’s the art object. All these examples, and so many more, abound in Strange Glue, but they all have one thing in common. Without Picasso’s and Braque’s invention, nothing on display here would have been possible to make today.
 
Clearly, postmodern collage is not a single story. In fact, the story of contemporary collage can never fully be told; while some parts come to light, others lay in shadow. Too much has occurred and too much is happening right now to ever fully give credit where credit is due. But, of course, the history of art historical divisions continues to be parsed out with all its “isms” as historians and thinkers dissect the past. With this in mind, Strange Glue endeavors to celebrate this important point in time through visual inundation; there are more than 130 different stories provided in Strange Glue—the number of artists included in the show. Strange Glue stacks so much work together in so small a space, visitors cannot avoid the overwhelming sense of collage’s omnipresence. On the one hand, the rationale for organization serves to mediate the deluge of artistic application. On the other hand, organization per se contradicts the fact that collage is often counter-category, because it is quite literally about the fusion of two or more things. Thus, it is important to acknowledge that the work on display, though grouped into specific sections, is more often than not just as able to straddle more than one group, and we are encouraged to imagine particular works in other designated and undesignated categories.
 
Despite problems of categorization, there is one factor that unifies every collage ever made. Collage is always about drawing. Moreover, collage has redefined the very act of what drawing can be. The fact that collages are composed by pulling disparate parts together—often including parts made by others into a common whole—heightens its interest, its conceptual power. Regardless of the possibility of whether or not an artist rendered one or many components by hand, an act of drawing is initiated the moment a thing is placed. To draw means to pull the eye and mind just as much as it means to drag a pencil, brush or crayon across a surface. 
 
Collage challenges pictorial conventions, while also usurping them. Another issue that arises in Strange Glue is how collage often confronts the relevance of the “cult of originality.” There are works by artists that hauntingly remind us of past artists, or past masterpieces of collage. Such artistic harkening is not just another art for art’s sake production. Strategies of appropriation are not signs of weakness, but proof of the vitality of the mind that couples the old with the new. What does it suggest for a contemporary image of war to be coupled with traditional images, angels depicted with multicultural features? Dredging up a past way of working, referencing another artist or a specific work, is like a footnote inside an original point of view. It brings some lost or forgotten idea or image back into the present for reconsideration under new circumstances. Much like when jazz musicians play a standard with a new twist and the audience is on the edge of their seats to witness a subtle homage mixed with unexpected twists, whenever collage artists paste something old or something they did not make into their work, that action makes it altogether something different, something special in that precise moment, never again to be repeated. To call that activity merely copying, denoting a lack of originality, is a complete misnomer. Indeed, collage makes for a complicated, but rewarding visual-intellectual experience. That is the power of collage: to haunt, to prompt, to reconsider, always anew. With such complexity, the artists of Strange Glue contribute to the ongoing understanding of the human condition, while not relying on the conventions of old. The variety of work suggests that the spirit of collage is always about adding the new to the established and the opposite is also true. When you consider the power of collage and its limitlessness, naturalism is limited by comparison. After all, even the best-made image using linear perspective loses its illusory power when viewed from any angle other than the angle the scene was originally observed. In this way, perspective is confined to a single point of view, one story.
 
The Italian Renaissance was called a rebirth because of a rejuvenation of pictorial conventions—suppressed out of respect for religious beliefs for more than a millennia—coupled with the systematized development of a naturalistic point of view and the development of linear perspective. Although today, we can still sense and observe the reach and influence of Italy’s Master artists, the Renaissance ultimately gave way to the inventions of a collaged reality. Look around you, and take stock of everything made since the Industrial Revolution. It is all collage-based. The principles of Renaissance perspective gave way to the rise of a far more expansive and inclusive visual order, albeit, a fractured one. Collage has spread as widely and with as much influence as western perspective did, if not more so. As many works in Strange Glue demonstrate, collage can easily adopt any language, including the language of perspective, anytime it is necessary for a given work. Moreover, as Strange Glue artists also point out, collage is the only process that can incorporate any and all other processes without losing its ability to be recognized. No other form of self-expression can make that claim. With this explosion of creative output, Collage at 100 seems to suggest, culturally speaking, we are not experiencing a rebirth per se, because collage started from scratch to create something altogether new. Furthermore, collage cannot be likened to rebirth; nothing regarding collage had originally been suppressed in order to be reborn. Collage is more like a phoenix. Out of the ashes of western perspective, came a new visual inclusivity.
 
Collage, as such, is the new realism—more inclusive then the old system of depiction ever could claim to be. In a very real sense, the collective work in Strange Glue asserts that collage has allowed us to re-imagine ourselves, and our relationship to absolutely everything.
 
Todd Bartel
Gallery Director, Curator
The Thompson Gallery


___________________
1.  Florian Rodari, Collage: Pasted, Cut and Torn Papers, Skira and Rizzoli, New York, NY, 1988, p. 31.
2.  Dianne Waldman, Collage, Assemblage, and the Found Object, Harry N. Abrams, Inc. New York, NY, 1992, p. 8.
3.  Elisabeth Hodermarsky, The Synthetic Century—Collage from Cubism to Postmodernism, Yale University Art Gallery,
      Herlin Press , Inc., West Haven, CT, 2002, p. 6.
4.  Kirsten Hoving, A Case for Joe, catalog essay, (quoting from note paper scrap, "scrawled by Joseph Cornell," Cornell Archives,
      Smithsonian American Art Museum), Hey Joe—An Homage to Joseph Cornell, Exhibition catalog, curated and published by 
      W. David Powell, Lulu.com, 2012, p. 6.


Strange Glue (Traditional & Avant-garde Collage) catalog available athttp://www.lulu.com/spotlight/unfoldingobject
 
Strange Glue exhibition reviewed in ArtScope magazine's November/December 2012 Issue

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The Cambridge School of Weston is a progressive high school for day and boarding students in grades 9–12 and PG. CSW's mission is to provide a progressive education that emphasizes deep learning, meaningful relationships, and a dynamic program that inspires students to discover who they are and what their contribution is to their school, their community and the world.