IUOMA Novel - col­lab­o­ra­tive work?

val macewan There's a video of the col­lab­o­ra­tive novel's progress thus far. oops, I lied, the link died, let me see if I can repair it. This is an update post and the update isn't func­tion­ing. Read on, it will may­haps become interesting.

If the video is not avail­able, we have incred­i­bly won­der­ful options. My dad loved Dean Mar­tin. My mom thought Frank Sina­tra was a punk. Really. She said that, Ruth did. I admit to lis­ten­ing to Sina­tra but I hate to wait until she died at 93 to crank it up in our house (she lived with us for 20 years).

So let us just Move on. Dot. Org. Con­tinue read­ing


An Artis­tic Legerdemain

9 - the artWork con­tin­ues on the Ann Head but progress is slow.

This sore throat/​fever/​aches and pain - stuffy and I can't rest syn­drome is for the birds. My seden­tary days make the dogs nutzo bazooms because I won't take them for a walk until the sun goes down and the air is cooler.

My lit­tle house­hold fills quickly with inter­nal squalor as my health declines. Rob [my muse] remained home last night as The Assem­blag­ist ven­tured out into the pub­lic domain to seek inspi­ra­tion and com­fort amongst friends and family.

While the open­ing act proved suf­fi­cient to reduce my ill-​gotten cold symp­toms, by the sec­ond hour my throat began to its quick descent into com­plete obliv­ion as my ton­sils and ade­noids became visions of past infections.

That lobotomy sure worked swell, Bob.
That lobot­omy sure worked swell, Bob.

Today is fit only for mild artis­tic endeav­ors and lots of fruit smoothie consumption.

With hopes for improve­ment upon the 'mor­row, I leave you for now, dear friends. (Does mor­row need a '?)

What is a Cubist Collage?

at c4's house 13

For real infor­ma­tion about a Cubist Col­lage, click here for a more rel­e­vant post.

An attor­ney in Brook­lyn, NY recently sent a link to a very inter­est­ing dis­cus­sion con­cern­ing collages.

Since lay­w­ers have to go to col­lage for a long time, I fig­ured he knew what he was talk­ing about.

I went to col­lage in North Car­olina, South Car­olina, Arkansas, and even Hol­land (that's The Nether­lands for your purists).

Col­lages... my favorite way to learn:

"Col­lage has thus been deployed both as a mode of polit­i­cal resis­tance and as a protest against the com­mod­ity form, as an instru­ment of total­i­tar­ian pro­pa­ganda and as a cap­i­tal­ist adver­tis­ing tac­tic. It was this oscil­la­tion — a sweep­ing applic­a­bil­ity to both the pop­u­lar and the polit­i­cal, con­sump­tion and nega­tion — that would usher in the late-​twentieth-​century turn to col­lage as a com­mon and essen­tial form of rethink­ing, repo­si­tion­ing, and rework­ing media."

do not take photos in the museum.
At the Warhol, we learned that YOU do not take pho­tos in the museum.

That's from Art­Fo­rum, a very remark­able read for any­one artis­ti­cally inclined.


DSfrom a book of fluxus by fluxed

An influ­en­tial artist recently declared 2009 to be the "Year of Assem­blage". Those of us who remain firmly grounded upon the pocosin of com­mon sense appli­ca­tion can well appre­ci­ate the rumor in this announcement.

The beauty of the assem­blag­ist mind, the pure and pas­sion­ate inten­sity of their vision, unfan­ci­ful and undressed up. Such artists have night­mares in which they can not dis­tin­guish the true from the lit­er­ate. Wak­ing within the con­fines of a nor­mal struc­ture will deter­mine the out­come of the moment.
--Spencer Montgomery

In the devel­op­ment of the Absolute, the def­i­n­i­tion of the sub­stance evolves into a plu­ral­is­tic ten­dency grounded firmly in the real­ism of the period.


This, then, is how the assem­blage artist thinks. In con­crete lit­eral def­i­n­i­tions of immutable objects. Less­ened only by con­tact with real­ity, these objects become desires.

That's all I'm say­ing... and it's true. Those read­ers who do not embrace the Real­ity of Assem­blage Com­bined have never vis­ited a 91-​year-​old demen­tia patient who just broke their elbow and cracked open the back of their head because she for­got she no longer knew how to walk.

How to Cre­ate a Cubist Col­lage, Part 1.

Imagine the possibilities! Yes, you too can control your ceiling fan.
Imag­ine the pos­si­bil­i­ties! Yes, you too can con­trol your ceil­ing fan.

While research­ing Cubist col­lage tech­niques, the his­tory of Matisse and his Cubist con­tri­bu­tions, this nice bit of "how to" came up on Google. Many thanks to Ken Schwab for post­ing a les­son plan geared toward high school-​age art stu­dents on Incred​i​bleArt​.org.

The Assem­blag­ist gives you these "Tips":
1. Mag­a­zines to cull for pho­tos, text, color in col­lage con­struc­tion can usu­ally be found on the FREE table at your local library.
2. Take old old mag­a­zines from your doctor's wait­ing room. The 2008 May 25 issue of Time mag­a­zine is not rel­e­vant to any patient. Seri­ously.
3. Check sites like: Cre­ate for Less clear­ance sec­tion for more sup­plies. (not a paid endorse­ment)
4. AC Moore, Michaels, you know the drill, JoAnn's ....
5. ply­wood can be used in place of card­board or mat board, 14" thick­ness.
6. I fre­quently use parts of dis­carded chests of draw­ers for my base -- dis­as­sem­ble the drawer and use the bot­tom or side pieces of wood. The bet­ter made fur­ni­ture with dove-​tailing on the joints makes for inter­est­ing art.


And now for your les­son, again thanks to Ken Schwab:

1. After review­ing Picasso and Braque with a video (sev­eral titles are avail­able - Google it) and a text por­tion of Cubism (Art His­tory), stu­dents are set up with a ruler, newsprint, pen­cil and eraser. Have a group of objects set up in the room for a still life. Ken likes to use the same things Picasso and Braque used such as gui­tars, wine bot­tles, fruit, vio­lins, trum­pets, etc.

2. With the stu­dents around the still life have them begin with a few straight lines on the newsprint, some ver­ti­cal, some hor­i­zon­tal and some diag­o­nal (about five to start). Talk to them about styl­iza­tion and sim­pli­fi­ca­tion of form into to flat shape.

3. When they start to draw these con­tours of objects, have them start at the top and move down the page. When they get to the lines, shift over and con­tinue to draw the object. Add more lines from parts of the objects that they have started. Have them make at least three stud­ies dif­fer­ing the object used and new lines.

4. Pick out the best design and trans­fer it to the scrap matt board and this will be the color of the picture.

5. Out­line the design with a nar­row black pen. Plan out a value pat­tern using a black felt tip pen.

6. Select at least three areas to col­lage news­pa­pers or sheet music and use a spray adhe­sive to glue them down.

7. Use the palette and water­col­ors to pro­duce a faux wood grain by paint­ing lines, blend­ing with a moist­ened brush and putting a tone across the area for a light value.

8. Lastly use white and black char­coal pen­cils and graphite pen­cils to draw into shapes and make gra­da­tions where you like.


Part 2 will dis­cuss Cubist Col­lage as an art form, yes, it's back­wards. Part 1 should dis­cuss his­tory and tech­nique with Part Deux being the actual cre­ation­ist part of the collage.

So check back irre­gard­less of con­tex­tual order. I'll post the Cubist Col­lage Dia­log on Monday.