American Collage Art
This section of the Traditional Fine Arts Organization (TFAO) catalogue Topics in American Art is devoted to the topic "American Collage Art." Articles and essays specific to this topic published in TFAO's Resource Library are listed at the beginning of the section. Clicking on titles takes readers directly to these articles and essays. The date at the end of each title is the Resource Library publication date.
After articles and essays from Resource Library are links to valuable online resources found outside our website. Links may be to museums' articles about exhibits, plus much more topical information based on our online searches. Following online resources may be information about offline resources including museums, DVDs, and paper-printed books, journals and articles.
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Articles and essays from Resource Library in chronological order:
Fabric of Survival: The Art of Esther Nisenthal Krinitz (5/29/09)
Notes on the 19th, 20th, and 21st Centuries: Paintings by Jeffrey Kronsnoble; essay by Jay Williams (5/13/08)
Notes on the 19th, 20th, and 21st Centuries: Paintings by Jeffrey Kronsnoble (5/12/08)
Jane Hammond: Paper Work (7/27/07)
Joseph Cornell: Navigating the Imagination (12/5/06)
The Art of Eric Carle (9/5/06)
Robert Rauschenberg: Combines (11/7/05)
Romare Bearden: Enchanter in Time (10/13/05)
Addition of "Photographic Collage" by World-Renowned Thorney Lieberman to the Collection of the Rockwell Museum of Western Art (10/6/05)
People and Places: The Art of Donald Saaf & Julia Zanes; essay by Susan Calabria (8/15/05)
Inez Storer; article by Stephen Glueckert (8/1/05)
Some Assembly Required: Collage Culture in Post-War America (7/7/03)
Alters of My Ancestors (2/25/03)
Julie Speed and the Art of Transformation; essay by Edmund P. Pillsbury, Ph.D (2/25/03)
Johanna Nitzke Marquis and Richard Marquis: A Commentary on Nature and the Indy 500 (1/3/03)
Mint Museum of Art Receives Six Romare Bearden Paintings (9/9/02)
Broken Silences: The Collages of Paul Jenkins (12/9/00)
Robert Van Vranken: Silent Paintings (11/4/00)
Echoes: The Art of David C. Driskell (10/16/00)
Miriam Schapiro: A Retrospective of Paintings 1954 - 1997 (11/24/99)
Miriam Schapiro: Works on Paper, A Thirty Year Retrospective (9/11/99)
Cut from the Cloth of Life: The Fabric Collages of Elizabeth B. Noyce (7/26/99)
Online information from sources other than Resource Library:
Benny Andrews: Mix Master: Collage and Line Drawings from the Collection of Professor Edward J. Littlejohn is a 2018 exhibit at the Museum of Fine Arts, St. Petersburg which says: "Benny Andrews was a master of mixing styles and mediums, and known particularly for his innovative use of collage in his paintings and works on paper." Also see artist's estate website. Accessed 6/18
The Cutting Edge: Collage is a 2018 exhibit at the Richmond Art Center which says: "The century of collage that began with George Braque and Pablo Picasso taking wallpaper or newspaper directly to drawing or painting opened a floodgate of exploration and expression making use of diverse materials in concert. Of today's moment, the seven artists in The Cutting Edge exhibition sharpen their vision employing scissors and wit, glue and gumption." Accessed 4/18
Henry Darger's Orphans and the Construction of Race is a 2017 exhibit at Intuit: The Center for Intuitive and Outsider Art which says: "Intuit's exhibition Henry Darger's Orphans and the Construction of Race centers on Darger's late collages, which include photographic reproductions of Asian "war-orphans" in Korea and Vietnam. The collages offer an anguished reflection on the complicated aftermath of war, representations of race and ethnicity, Darger's thwarted real-life attempts to adopt a child, and his own victimization as an orphan and reveals how the United States constructed race, particularly whiteness, and childhood." Accessed 9/17
Hung Liu In Print is a 2018 exhibit at the National Museum of Women in the Arts which says: "To make her prints, Liu (b. 1948) uses an array of printing and collage techniques, developing highly textured surfaces, veils of color, and screens of drip marks that transform the figures in each composition. Describing printmaking as "poetry," she emphasizes the spontaneity of the layering process, which allows each image to build organically with each successive layer." Also see press release and website of artist. Accessed 2/18
Prilla Smith Brackett and Amy Ragus: Fractured Visions was a 2015 exhibit at the Danforth Museum of Art,, which says: "Whether using a paintbrush or camera, both Brackett and Ragus mix nature and artifice, employing a collage aesthetic to represent their reality. Prilla Smith Brackett explores the landscape in her paintings to reveal hidden beauty and hard truths, celebrating the natural world while reminding us of its fragility in the face of manmade intrusions. Amy Ragus creates photographic collages based on hundreds of individual images of a given scene." The exhibit catalog is provided online. Accessed 11/16
Ripped: The Allure of Collage, an exhibit held October 29, 2011 - January 8, 2012 at the Heckscher Museum of Art. Includes exhibit resource guide and activity page. Accessed January, 2015
Return to Topics in American Representational Art
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