A Work From The Sixties by Betye Saar

I saw this work in the daily email from Art Knowledge News and just had to post it. It was included in a show at the Getty Center in Los Angeles called "Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950-1970. Show dates were October 1, 2011 through February 5, 2012. Here's a link to the Getty's page about Betye Saar that includes a video of her talking about her work. She cites the Watts Towers and Joseph Cornell as specific influences but also talks about the artist as shaman and what viewers bring to art to complete its transformation.

The Getty site comments on the 1950-1970 period covered by this show:
...Los Angeles has shed its stereotype as the land of sunshine, palm trees, and movie stars to become an artistic powerhouse and an increasingly important international creative capital. This fundamental shift in the cultural landscape of the city dates back to the 1950s and 1960s, a period of critical importance in art history that has never before been fully studied and presented.


Too bad the show is long over.

Barbie Strikes Again

See the link below for info on the artist who made this great brooch

No, "bricolage" is not a synonym for Barbie dismemberment, but the link that Karen Frazer posted on Facebook was just too good to pass up. Take a look at this http://www.ecouterre.com/artist-dismembers-barbie-turns-body-parts-into-disturbing-jewelry/barbie-mouth-brooch/ . This jewelry is very well done because you wouldn't recognize it as Barbie parts right away. But once you see it for what it is, there's a whole other level of meaning.

The whole trick is making it your own. Yes, that's right: take it away from Barbie (and/or Ken) and make it yours.

You can tell that Barbie was popular before the era of Botoxed lips

Thanks for thinking of me, Karen!

Barbie Mania

I just came across this post from Hyperallergic that shows what could be done if one had the commitment to Barbie that some believe she deserves. Why Barbie? you may ask. Well, if you had opened your own mystery box, you might know the answer to that question. And some who did wanted to reinvent Barbie in new ways, one might even say deconstruct, but no names, please.

COLOR

Let's get colorful!  In this final post before the conference, I wanted to touch on the subject of color. Too often I have seen artists working in bricolage or collage who only use unpigmented medium or white paint. I hope that this post will inspire you to think about color in your bricolage work--either from added encaustic paint, colored gesso, ink, oilstick, oil paint or oil pastel as well as color from the elements themselves.

Beatriz Milhazes, Brinquelandia, 2008, mixed media collage on paper, 45 1/4" x 56 1/4"
Image from James Cohan Gallery website

Beatriz Milhazes is the contemporary artist I think of as the Queen of Color. The piece above is actually not that typical of her work in that it's pretty geometric, where her usual work contains swirls and arabesques in more rounded shapes. Click the gallery link in the caption above and you'll see 25 other examples of her work.

I picked this one because I wanted to show the use of text as texture and as a means for adding color. I believe that Milhazes uses a lot of food wrappers from candy or gum in her work. In your bricolage work, perhaps you could use pieces of fabric, paint chips, printed advertising or other sources to add color to your work in addition to paint.

Yayoi Kusama, Violet Obsession, 1994, sculpture of stuffed phallic forms
in the shape of a rowboat and oars. Picture taken at MoMA in July 2010.

Detail of the Kusama work

Yayoi Kusama: Talk about saturated color! Here is an example of one hue used to cover a multitude of objects, unifying them and making an intense statement.

Kurt Schwitters, MZ443 (untitled), image from the Menil Collection

Kurt Schwitters: This work by an artist known principally for his collages illustrates how a limited amount of strong color can animate a composition. Note how the use of red brings out the pinkish paper at bottom left (may actually be the back of something red).  Black is also an important color, used in the cut paper and in pencil lines.

Detail from Rebus by Robert Rauschenberg, 1955, mixed media on three panels,
 8x10 feet x 11 1/8", picture taken at MoMA in July 2010.

Robert Rauschenberg's daring use of 3D materials along with paint and canvas was the bridge between Abstract Expressionism and Pop Art. In Rebus he included 117 paint samples lined up between the two drippy reds at the bottom of this image. Here we see color from elements and color from paint, pencil, prints, newspaper, fabric and who knows what else.

Size in inches: 28"x 34 1/4"

Conrad Marca-Relli: I saw an ad for the Knoedler show with a similar piece by Marca-Relli in the current Art News and it caught my eye. I like the way he uses those stripes and adds that unexpected pale blue piece of fabric above. I suppose he means it to represent the sky, but if so, why are those cloud shapes striped too? The only little piece of red (plus white and blue) really draws attention to itself, but the competition with the movement of the stripes is pretty severe. That black L-shape at mid to lower left anchors the block of smaller shapes and implies a shadow.

Conrad Marca-Relli, Cityscape A-M-11-96, 1996, collage and mixed media on canvas, 42" x 45 3/4"

Here's another Marca-Relli with what appears to be a simple organization. The yellowish color at bottom looks like it comes from clasp envelopes. The middle section could be a deconstructed book and the black at the top could be anything but is probably paint. I really like the simplicity of this piece and the color is subtly very powerful. I think you can never go wrong with plenty of black, but that's just me.

Leonardo Drew, Untitled work. Picture taken at Sikkema Jenkins Gallery in February 2010.

Leonardo Drew: One of my favorite artists, Drew uses a lot of black in his work. Here he paints single objects displayed in a grid constructed from old window trim. Note how painting some of the boxes themselves, as well as the objects, breaks up the grid a bit. Also some of the objects are more dimensional than others and some boxes are painted whiter or less brown than others. It gives the work a more organic look and softens the geometry.

Lee Bontecou, Untitled 1961, welded steel, canvas, wire and rope,
72 5/8" x 66" x 25 7/16", image from the website of the Whitney Museum

Lee Bontecou, another of my faves, also used plenty of black in her early work. The color of the recycled canvas pieces in this one came from use (dirt) in their prior industrial life and from soot that she applied with her welding torch. The combination of the two sources gave the work a distinctive greyed-out taupe-ish color that combines beautifully with black as the color really all comes from the black scale.

Work by Brian Dickerson.  Unfortunately, something is wrong with his website
that won't allow me to look up the info on this individual work.,
but as I recall it, this is a good-sized piece, 40"-ish in size

Brian Dickerson: Here's another work that uses a color with plenty of black in it. This is a taupe with a warm temperature (toward red) as compared with Bontecou's cool (toward green). I really like Dickerson's work, which is constructed with hidden enclosures and buried components. The freshness of that little piece of  green in the midst of all that black and brown really brings the piece alive when highlighted by the white next to it. There is no question about the compositional focus being on the inset color, but what's that strange line of something inset to its left? Ah, mystery! (Here's another link to see Dickerson's work at Kouros Gallery in NYC this summer.) By the way, the list of materials in Dickerson's work says "oil, wax, mixed media on wood." I'm guessing the wax is cold wax mixed with oil paint, but I could be wrong.

Hannelore Baron, Untitled box construction, 1985, 14" x 8" x 2 1/2"

Hannelore Baron:  I am not sure what the objects in the box are, but the color that she has used on them is dark, rich and subtle in combination with that beautiful brown of the box. Whatever those vertical pieces are, they are being restrained by the rope and string and the viewer is being kept out of their intimate interior space. I am making the point here that dark color brings a richness and depth not found in bright, saturated color. My eye seems to go into the dark while light color stays on the surface.

Henry Klimowicz, Circles #3, 7 x 7 feet, cardboard and hot glue

Henry Klimowicz is a master of cardboard. He makes huge and spectacular work using just this one material and hot glue. The color is all from the cardboard itself, but the shape of the elements influences the value because the light strikes it differently depending on size and shape. This is something else to consider when making a bricolage composition from one type of element, and a factor that's also apparent in the work of El Anatsui, for example. How much can you vary the color by varying size and shape of one type of element? More on Klimowicz's website.

Spectacular cardboard works from a Klimowicz exhibition

Tara Donovan, Untitled, 2003, styrofoam cups and hot glue, 6x20x19 feet

Tara Donovan: The master of works made from one element, Donovan adds no color to her works, but the way light hits the surfaces of the elements provides plenty of variety. Probably color is not the first thought you would have when looking at Donovan's work, but here is one more example of a repeating element using light as its palette. (Take a look at more of Donovan's work at the Boston ICA.)

Kathryn Frund, Rapture, Rupture #6, 16"x16", image from website of  Chase Young Gallery, Boston

Kathryn Frund: Here is more color from elements (natural wood) plus a thin layer of paint over the natural color of the crumpled and wrinkly metal. Slightly visible at left and bottom is more color from the panel underneath. This is subtle, mostly invisible color that still works its magic. (Click the link for the gallery to see Frund's usual much more colorful work.)

Catherine Nash, Reliquary to the Dawn, 2011, 14"x13"x5", mixed media assemblage with vintage drawer,
encaustic, nautilus shell, antique market finds, raku-fired ceramics, lashed pine needles
from the Gila Wilderness in New Mexico gathered at dawn

Catherine Nash: This lovely piece gets its color from aged wood, rust, the soft tans of the pine needles with the darker bands of twine, and the luminescence of the shell. The highlight is the small encaustic painting with the pale turquoise and pinkish white of dawn's rosy glow. The 3D element of the shell plays an important role by providing the link in color and shape between the painting and the found elements. Notice that the found elements are not embedded in encaustic but left in their natural state and attached by other means to the drawer. (More of Catherine's work here and here. Studying Catherine's work will provide plenty of examples of how to combine encaustic with found elements.)

Sharon Booma, Nothing But a Rumor, 2011, 60"x60"x3", oil and mixed media on pan

Sharon Booma, Unobstructed Effort, 2011, 48"x48"x3", oil and mixed media on panel

Sharon Booma, Opportune Moment, 42"x42"x3", oil and mixed media on panel

Sharon Booma: Finally, I'm showing you three by Sharon Booma to illustrate the use of strong allover color with elements both painted over and exposed in the color field. Booma is a master of this type of painting. Notice how she leaves plenty of empty space (color field) for the eye to rest in. Having elements submerged in the field or partially exposed by scraping adds a sense of discovery for the viewer. Imagine how blah these works would be if they were painted only with unpigmented medium. Also notice that while there is a predominant color, there are also many other colors included in each work. These colors could be added with mediums other than encaustic or come from the elements themselves. (Note that if you are coming or going through Boston to or from the conference, Booma shows at Arden Gallery on Newbury Street, where you can also see work by Joanne Mattera, Kim Bernard and me).


I hope that this post will give you more ideas for your work and add some possibilities for bricolage that you may not have considered previously. I'm looking forward to meeting everyone at the conference and working with you in the post-con workshop(s). The mystery boxes are being assembled and will be waiting for you to reveal their contents.

Manipulating the Elements

Betye Saar from the exhibition last December at
Michael Rosenfeld Gallery, "Cage"
(See my post about this show in Art in the Studio here.)

In my initial post I spoke about the difference--as I defined it--between bricolage and assemblage. Assemblage is the bringing together of various objects or pieces of materials as they are found, without much changing or manipulating of them. In this way, they retain their distinct identity as separate pieces although they become part of the whole.

I think the above work by Betye Saar is a good example of assemblage. You can see that she has brought together an old chair, washboard and cage together with other elements placed inside the cage. I see no evidence of paint or other manipulation of any of the parts. It looks like the pieces were incorporated into the work as she found them.

This work makes me very aware of the uniqueness of each of the objects and I wonder where they came from. That is, does Betye Saar go to flea markets or antique stores, does she have pickers working for her and so on. I think about the source of these elements because they appear to have survived over time and are more self-referential than otherwise. As I looked at the work, I understood that the combination of parts alluded to black slavery and got the evocative feel of the elements, but for me the work lacked the unique hand of the artist in its making. I thought the emphasis was more on the "found" than the "art."

Betye Saar, The Liberation of Jemima, 1972, 11 3/4"x8"x2 3/4"

The Liberation of Jemima is probably Betye Saar's most famous work. Her intention was to "transform a negative, demeaning figure into a positive, empowered woman..., a warrior ready to combat servitude and racism." (quote from Betye Saar). Here Saar has not just assembled found objects but transformed them by painting and attaching them to each other. She has made a Black Power fist from wood or some other painted material and set it in front of the found print of a black "mammy" with white infant. She has probably painted a found doll and painted found syrup labels, then set all the elements into a painted shadow box with fluffs of cotton in the foreground. This is a unified work that clearly speaks its meaning: Jemima has given up her broom for a gun and raised her fist in a Black Power salute. I would define this as bricolage.

Leonardo Drew, section of No. 75 at the DeCordova Museum
(See my post about this show in Art in the Studio here.)

Leonardo Drew is one of my favorite artists, as you may know from Art in the Studio. I saw this work in person at the DeCordova last September. It is choc full of found objects that have been assembled in a grid and painted with rust. What brings together the disparate shapes of the objects is the regularity of the small square blocks within each of the larger squares. This is grid upon grid organization. When the objects break the grid format because of their size and shape, the viewer's eye snaps right back to the grid with the appearance of the next block. Painting just about everything with rust has the effect of pushing everything back, toning it down so that it loses some of its original color and becomes part of the whole. That also gives it more of an old, decayed look. I would define this as bricolage.

When you see a collection of objects like this, is there any question about the meaning of it all?

Another piece by Leonardo Drew, this one hung in the grand staircase at DeCordova

This is a lovely little piece, maybe 2' by 2' or so. Here is a broken grid that still reads as a total grid, but look at how many ways he has disturbed the regularity of the format. 

Suppose you had a series of objects, not all the same shape and/or size, but a few the same, and you brought them together on a panel with a similar organization. Perhaps you would overlap other objects on some of them as Drew has done with things inside the little boxes. Inside=3D and Overlap=2D if you see what I mean. You could unify all the objects by painting them a similar color or colors, maybe hot pink or blue instead of rust. You would be manipulating the elements. You would be making bricolage.

Do I have to think about meaning?, you might ask. You will find your meaning from the objects, I would answer.

Found Object Art 
Yes, bricolage is "found object art," but if you google "found object art," you will get things that look like this:

Fear by Karen Hatzigeorgiou

Work by unidentified artist from Style Hive

Broken Family by Anthony Heywood, from My Modern Met

Found Object Art by Brad (age 5), from Barbara Bianchi

People who are not used to making art mostly tend to make animals, robots or doll scenarios from found objects. This is part of the folk art tradition, but this is not what we are aiming for.



Examples of bricolage from current exhibitions in New York galleries


Lisa Hoke at Elizabeth Harris Gallery, "Love, American Style", April 28-June 11
(thanks to Joanne Mattera for the link)

Love, American Style, Black and Gold, 2011, cardboard, paper, rivets, glue, 144 x  109 x 20 inches

Detail of above work

Panorama of the exhibition

Older work by Lisa Hoke:

Blue, 2007, plastic, paint and hardware, 25 x 27 x 3.5 inches

Zig, 2008, matchsticks, tissue paper, glue on cardboard, 5 1/4 x 6 x 3 1/4 inches

Boxed Sets, 2008, match boxes, paint and rivets, 14 x 12 x 10 inches

Louise Bourgeois at Cheim & Read, "The Fabric Works", May 12-June 25

While it may be stretching it to claim that some of these works are bricolage, look at the way she uses fabric to look like paint. The fabric elements of her compositions have certainly been manipulated, and compositions such as these would easily translate into more dimensional materials. Note the simplicity and clarity of her compositions, the balance between figure and ground and the breathing space in her work.

Addendum: By the way, I read on Altoon Sultan's blog that Bourgeois "found" these fabrics in her own closets, cutting them from clothing and household items. Read the excellent post about the show and see the more intimate photos of the show taken in person.

Eugenie Grandet, 2009, mixed media on cloth, suite of 16, 11 1/4 x 8 1/2 inches each

Untitled, 2006, fabric and fabric collage, 11 x 18 1/4 x 2 inches

Dawn, 2006, fabric book, 12 pages, 12 1/4 x 9 3/4 inches

Untitled, 2003, woven fabric, 34 x 44 inches

The last one is my personal favorite, probably because it has something African-looking about it.


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By the way, if you Google "bricolage," you will get a lot of things in French, such as:

This is because the word "bricolage" is apparently used in French to mean "do-it-yourself."

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Next and last post before the conference: the wrap up, with emphasis on color, space, line, value, form and the rest of the components to consider in making fine art.

Why Bricolage?

Bricolage is a term that is beginning to be used more frequently to describe artworks made from found, recycled or ready-made materials. Such material is usually called junk, but since we are talking about fine art,  I prefer to use a term which may be considered the equivalent of "collage" except that the materials are not necessarily paper and they are not necessarily attached with glue. Perhaps "assemblage" is a more familiar term for the process we will be using, but instead of just joining together elements or objects, I want to stress the manipulation of individual elements and the submersion of elements into a completed work.

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NOTE: I am writing this blog for the students in my post-conference workshops at Truro Center for the Arts at Castle Hill on June 8 and 9, 2011. Those workshops are titled "Making Fine Art with Unconventional Mixed Media and Encaustic."  (See the full listings on the blog for The Fifth International Encaustic Conference.)  Each workshop lasts only a day and there is a lot of ground to cover.  I thought this blog might give us a head start by getting us thinking and communicating about using the process in advance.
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This is a detail from a bricolage work by El Anatsui that is comprised of liquor bottle caps and wrappings. For more information on Anatsui's work, see my blog Art in the Studio.

Manipulation of Elements to Make a Whole
For example, in the bottle cap works by Anatasui, he has begun with found/recycled material but has transformed the material by cutting or folding the aluminum pieces into various shapes and joining them together with wire in different ways. He also sometimes shows the front of the materials and sometimes the backs. He uses found color to create pattern and shimmering effects. Notice, for instance, in the image above, that the elements have been shaped and that he has folded the corners of the strips on the right into triangles that show the silver backs of the strips. When this artwork is viewed as a whole, those silver triangles add to the shimmer and glow of the metal tapestry. The individual elements are formed into parts and organized according to a plan to make a work of fine art. You can still see the individual pieces and read the names of the liquors on close looking, and these close-up details make a more intimate connection for the viewer.

A view of one of El Anatsui's "tapestry" works made of bottle caps and wrappings. Untitled, 2007

The image below shows another way of Anatsui's folding the bottle wrappings so that even more of the back is visible. Also notice how strips are oriented in various ways so that striped patterns are created.

El Anatsui, detail from Fading Scroll

Where's the Encaustic?
Of course you will see that Anatsui does not use encaustic in his work and that the works are not attached to panels, canvases, paper or other supports. So perhaps you wonder what this work has in common with what we will be doing at Castle Hill.

My intention is to include images of works in this blog that are made from many different types of materials in addition to encaustic. I want to make the point that encaustic is just one of the elements you will be using to make the works and that the main use to which you will put encaustic is not that of a glue.  I hope that you will begin looking for examples of works that use found materials, examining how they are made and thinking about how you could include encaustic if you were to make a similar work.


Group Participation
I encourage you to post a comment with a link to bricolage works that you have made yourself or that have been made by others -- or you can email me images and I will post them to the blog. It would be nice if we could get a conversation going in advance of the workshops so that we will not be starting at square one and so that we can get to know each other a bit.


Future Topics
Other subjects that I plan to discuss on this blog are meaning or content in works of art and formal elements of composition. Perhaps you can suggest other topics that relate to bricolage?


Organization Method: The Grid
To begin our focus on organization of elements, here is another image of a bricolage work. This one is made of driftwood and other found elements that are organized in a grid. This organizing mode, first popularized in Cubist art, has become second nature to many artists. Here is a link to Joanne Mattera's post on grids and lattices in the galleries in February 2009. Perhaps you can imagine some of these pieces transformed into bricolage works.

This is Grid #3 by Bob Leibow. See more here.

So please feel free to comment, ask questions, make suggestions or send information. If you don't want to make a public comment, you can email me directly. My address is at the top right of the blog.