Strange Glue (Virtual Annex)

COLLagE at 100 i/iii Strange Glue

(Traditional & Avant-garde Collage)

Virtual Annex Curated by Todd Bartel Thompson Gallery, The Cambridge School of Weston Published on the occasion of the exhibition Strange Glue (Traditional & Avant-garde Collage) September 7 – November 20, 2012 © Thompson Gallery, The Cambridge School of Weston Design Todd Bartel Printed on demand by Lulu.com Essay © 2012 Todd Bartel Edited by Naomi Mayer Photos © 2012 provided by the artists Exhibition photography © Todd Bartel All rights reserved The Cambridge School of Weston 45 Georgian Road Weston, MA 02493 Cover, end pages and page 13: Todd Bartel, Pablo Picasso, Still Life with Chair Caning, 1912 (Blank Slates—History of Collage Series) [altered to highlight the chair caning, wallpaper scrap], 2012, Rives BFK with digitally generated, laser-cut collage (cut at Kennedy Fabrications, New York, NY), mounted on museum board, 22 x 30 inches

Thompson Gallery 4

Collage at 100 Fall: Strange Glue (Traditional & Avant-garde Collage) Winter: Strange Glue (Collage & Installation) Spring: Michael Oatman (Another Fine Mess) Collage at 100 is a three-part, yearlong exhibition series that celebrates the centennial of the appearance of collage in painting. In its first 100 years, collage has become ubiquitous within contemporary art and culture and its myriad applications have expanded its original definition to become the most inclusive of artistic processes. Strange Glue (Traditional & Avant-garde Collage), the first show in the series, assembles the work of more than 100 contemporary artists as it traces the transition from traditional to avant-garde approaches to papier collé.

ABOUT THE THOMPSON GALLERY The Thompson Gallery is a teaching gallery at The Cambridge School of Weston dedicated to exploring single themes through three separate exhibitions, offering differing vantages of the selected topic. Named in honor of school trustee John Thompson and family, the Gallery promotes opportunities to experience contemporary art by local, national and international artists and periodically showcases the art of faculty, staff and alumni. The Gallery is located within the Garthwaite Center for Science and Art, The Cambridge School of Weston, 45 Georgian Road Weston, MA 02493. M–F 9–4:30 p.m. and by appointment (school calendar applies). Visit thompsongallery.csw.org to view exhibit art.

ABOUT THE CAMBRIDGE SCHOOL OF WESTON The Cambridge School of Weston, located in a Boston suburb, is a progressive, coeducational, day and boarding school for grades 9 through 12, and post graduate.

Established in 1886, the school is dedicated to fostering individual strengths and deep, meaningful relationships through a wide range of challenging courses and a variety of teaching styles. csw.org

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COLLagE at 100 i/iii Strange Glue

(Traditional & Avant-garde Collage)

Virtual Annex September 7 - November 20, 2012

Rachel B. Abrams • Debra Bretton Robinson • Judith Brassard Brown Kathy Bruce • Andrea Burgay • Mary Campbell • Catherine Carter Peter Ciccariello • Jonas Criscoe • Lauren Curtis • Emily Davidson Luc Fierens • Lili Francuz • Lisa Fromartz • Joseph Geary • Mary Gillis Bonnie Gloris • Sara Holwerda • Stacy N. Isenbarger • Jan Johnson Katie Dell Kaufman • Mary King • Sabe Lewellyn • Marja Lianko Harlan Lovestone • Anthony Heinz May • John McCaughey • Stephen Mead Brant Moorefield • John Mosher • Armin Mühsam • Ryan Sarah Murphy Jánis Nedéla • Carolyn Oberst • Brenda Phillips • Carla E. Reyes John Ros • Emmet Sandberg • Deborah Schneider • Rachel Selekman Robin Sherin • Tawni Shuler • Adam Sperling • Tamara Staser-Meltzer Clifford Tisdell • Adam Tolland • Leslie Vigeant Antoinette Winters • Aleena Worfe

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Foreword/acknowledgments

September 29, 2012 One of the many lessons collage has taught me is to be ready to make connections and to be present in the moment with all things, because associations are only availabe to those who see them. Painting taught me to how to take a risk, how to play and how to simplify the world; it forced reconciliation with issues of abstraction and personal voice. As a curator, I often muse that putting together exhibitions is a lot like painting and collage. You collect, you make sense of what you collect, you play with and, ultimately, form ideas about the collection of things to be presented. Then, you paint that picture for yourself and others. Curating is as much about my own studio practice as it is about being a teacher. Tempting as it is to claim curating this series as my art, teaching keeps me in check. Importantly, curating and making art are always in the service of exploration. Another point collage makes is that the process of cutting forces things to be cast aside, unless some vision for how to unify the remnants comes to light. Interestingly, this show is about keeping those significant castoffs.

Virtual Annex has afforded me a rare and unexpected opportunity: to present a second catalog in conjunction with the Strange Glue (Traditional & Avant-garde Collage) exhibition.

The genesis of this satellite exhibition evolved after I completely filled the digital mock-up for the first show, but still had more than 50 pieces remaining with no room to exhibit them.

I had to select dozens of artists to eliminate.

That was the moment when most curators would have sent out the rejection letters. The surplus art, though, was simply too good to dismiss, so I tried to rework the installation 10

design. In the end, the quantity was just too great and I was already well over capacity even for a salon-style installation. However, the more I considered ways to present this work with dignity, sincerity and a new point of view, the potential to learn from this odd grouping grew, expanded and inspired. It occurred to me, Picasso glued a scrap of mechanically reproduced wallpaper to his first collage painting; it wasn't even an actual piece of chair caning, just a virtual representation of chair caning. It was then the idea of a virtual setting came to light. What better way to illustrate the revolution of papier collé, with its origins in facsimile incorporation, than a facsimile exhibition that is adhered to a sister show? With that in mind, I invited this group of aproximately 50 artists to participate in the Virtual Annex show; 49 accepted.

While trying to organize Virtual Annex, I discovered there were two categories that had not made it in the analog show: landscape and conceptual art. That fact alone, inspired the idea to write a new essay for the online show, which just happened to occur within a week of the hundredth anniversary of Braque's invention of papier collé. It was then I realized it was important to not only create an online, virtual show, it seemed paramount to create a second catalog, as well. Inspired by these coincidences, I found the time and energy, despite the opening of the school year and all that entails. As I worked with the groupings, I began to realize there were also other things I had not adequately articulated in the essay to the first exhibition.

For the past fifteen years, I have been preparing for the centennial of collage.

Although, back then, I was not sure what I

would do, I knew that my study of collage somehow needed to be harnessed and made available to others. Teaching seemed a natural venue, but five years ago when I became the director of the Thompson Gallery, it was then I knew I would be pulling together a big exhibition; I just never imagined an additional virtual show. Over the years, I have come to realize that in order to tell the story of the first hundred years of collage it is not enough to recap the art-historical categories, the isms of collage's many faces. Collage has always been with us. Collage is the way we experience the world; we think and perceive through a collage process. Collage is more expansive and inclusive than anything else we can name.

Just focusing on collage's evolution does not, nor could not, explain some of its more crucial aspects.

What keeps things together?

How fitting to be able to answer that question, with the recent discovery of the God particle. In the spirit of the Higgs Boson, this catalog is organized not by art-historical sections, like its sister catalog, but by glue type. When I ask my students how many kinds of glue there are, inevitably, everyone lists brand names, and then after those are exhausted, someone says "tape" and then things like zippers, Velcro, buttons, thread, safety pins, paper clips, staples get added to the list. I cheer and say, Yes, but those are basically all just one category: physical binders. What about gravity, electro magnetism, DNA, etcetera?

Then, with a broad grin I point out, Star Wars posits that midichlorians are the glue of the universe. Now, the Higgs Boson makes that case.

Since we now have a name for the entity that keeps everything from falling apart, it seems appropriate to explore other ways that things can be held together. Beyond physical binders, what keeps one work of collage together is not necessarily what binds another. I firmly believe that content requires specialized glues, all of which are distinctly human, but none of which are physically palpable. Hence, the glues this exhibition explores are all virtual.

I would like to thank my family for their support as I worked on these exhibitions; their understanding and encouragement is a source of great renewal.

I want to thank the Virtual Annex artists for their patience and trust in me, as I did a decidedly unusual thing, pulling this show and catalog together. Only as of late, did its true potential come to light and if none of us were present and open to going on this strange venture together, this particular opportunity to celebrate the power of collage's connectivity would surely have been lost.

Todd Bartel Gallery Director, Curator Thompson Gallery

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COLLagE at 100 i/iii Strange Glue (Traditional & Avant-garde Collage)

Virtual Annex

Anything can become something else, that's what I wanted to show.1 Marcel Duchamp The Higgs Boson may glue this universe together, but we are the ones who give it meaning.2 David Horsey Virtual Annex to the Analog Exhibition With the addition of the Virtual Annex, part one of Strange Glue became a collaged, or rather, a sliced exhibition, grouped into two categories: an analog exhibition that exists on the walls of the Thompson Gallery and a virtual exhibition that exists at the Thompson Gallery's Blog website. When it comes to assembling an exhibition with an acute focus, typically speaking, artists receive rejection letters when the curator either achieves the goals for a particular grouping of art or space runs out preventing more work from being included. The latter being the case, limited space prevented the 49 artists of Virtual Annex from gracing the walls of the exhibition proper. Strange Glue was not conceived to support an additional facsimile exhibition. It was designed as a three part exhibition series, with the first show celebrating works on paper, the second show exploring installation-based strategies and the third show focusing on the work of Michael Oatman, who's art embodies both foci. However, the strength and haunting nature of the work that could not fit on the walls of the analog show inspired a unique idea of inclusion. Literally tacked on to first exhibit in the series, Virtual Annex is an extension of the same set of interests promoted by its analog counterpart, designed for digital display, with an additional focus all of its own.

Not at all slighted by being appended, as its name suggests, Virtual Annex mirrors the 16

invention of collage in some interesting ways.

First and foremost, just as Picasso and Braque chose facsimile images to paste onto their work, so too has Strange Glue pasted a virtual showing of a portion of the work it exhibits. As the historical record demonstrates, when artists fuse or divide categories of visual expression, the result is often not immediately appreciated.

Sometimes there is a delay in appropriate recognition. One hundred years after Picasso made his first collage in May of 1912, Strange Glue letters of acceptance and rejection were sent via email to 524 artists. And almost to the week, one hundred years after Braque made his first papier collés, the idea to create this catalog to commemorate the virtual exhibition was proposed to the artists in the virtual show. As the idea for this virtual showing evolved, so did its focus. Not planned, but beautifully parallel to the story of Braque and Picasso, a missed opportunity transformed into something greater, not only something virtual, but something essential. In order to better appreciate this odd set of occurrences, it is helpful to explore just a few instances of delayed responses to seminal moments in time. The following three events, taken from the timeline of early collage history, highlight themes of exclusion and/or missed opportunity.

1912 In May of 1912, despite being the first collage— with its over-painted, collaged wallpaper scrap depicting chair canning and it's assemblage rope frame—after Picasso created it, neither Picasso nor Braque initially recognized the power of Still Life with Chair Canning. Which is to say, the potential of collage and assemblage as a vehicle for creating fine art laid dormant at first.

Later, because of a chance encounter with an inspiring new material, Braque's conscious shift to overtly construct art by unifying paper and paint occurred late in the first two weeks of September 1912, nearly four months after the

accredited first collage. What then prompted the conscious invention? While in Avignon, Braque happened upon a storefront window display, showcasing facsimile wood-grained wallpaper. He purchased the material and made the first fine art paper collages that same day.3 Soon afterwards, when Picasso ultimately saw Braque's invention of papier collé, he responded with over a hundred of his own in the weeks to follow. In other words, it took the separate creations of both artists and their apparent oneupmanship, to invent collage as a conscious and viable artistic process.

History has clearly demonstrated the power of that joint invention.

1917 As suspected, despite an atmosphere of artistic openness propelled by Picasso and Braque's exploits with cubism and collage, the value of the most infamous readymade was not recognized during its debut appearance in April of 1917. Duchamp had predicted as much by testing the American, Society of Independent Artists (SIA) committee, of which he was a member, to see if they would indeed uphold their liberal and democratic values toward modern art. He set a trap for them having submitted a porcelain urinal, under the pseudonym R. Mutt, which he titled Fountain, as part of his application to the first SIA exhibition. The exhibition committee rejected Fountain—despite advertisements that touted "No Jury, No Prize," and "…no requirements…" other than paying fees and dues—on the grounds that it was "not art," it was "vulgar" and it was a work of "plagiarism." Duchamp's responses to the SIA's determination were a swift resignation and an editorial in the second and final issue of the Blind Man, a magazine designed by Duchamp and the magazine's other editors to follow SIA's premiere exhibition.

Duchamp's seminal rebuttal,4 The Richard Mutt

Case, not only amended the act of collage to include conceptual transformation; it changed the course of modern art and ushered in postmodern art: What were the grounds for refusing Mr. Mutt's fountain: 1. Some contend it was immoral, vulgar.

2. Others, it was plagiarism, a plain piece of plumbing.

Now Mr. Mutt's fountain is not immoral, that is absurd, no more than a bath tub is immoral. It is a fixture that you see every day in plumbers' show windows.

Whether Mr. Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under a new title and point of view – created a new thought for that object.

As for plumbing, that is absurd. The only works of art America has given are her plumbing and her bridges.

Duchamp's contributions to the history of collage are so ground-breaking; we are still trying to make sense of them today.

1918 While in Berlin, Kurt Schwitters wanted to join the Dada Club in 1918, but his application was vetoed5 due to the artist's association with another artist group that did not correspond to the attitudes espoused by the Dadaist revolt against aestheticism and establishmentarianism.

Schwitters then adopted the principles of Dada into his studio practice and created a related Dada movement all of his own, which he called Merz. During the first World War, the 17

idea of assembling art using found items from a ravaged and destroyed European city was radical and without precedent. Revered for his work and contributions, Kurt Schwitters was later counted among the most seminal of Dada artists.

immaterial binders. Thus, rather than repeat the format of art historical categories which the previous catalog and exhibition examined, this motley grouping of cast off artists has been organized to demonstrate the rich categories of virtual glue only hinted at by its sister show.

Today, using salvaged materials is so widespread most artists do not even know whence it originated or who to thank.

It may be said that Picasso's and Braque's story is an important example of memorial glue, a story worth being remembered and told again on the one hand, while on the other hand it is a story about not connecting, firmly enough, to what has been glued down—it's a story about the lack of memorial glue. Picasso and Braque missed the potential of the first collage!

To recognize what was missed, especially something staring us in the face, is to be ready the next time by being more open. It is interesting to note that both artists bickered over who created the first collage! Thus, at a certain point, they both cared about such memorial glue!

Dividing Glue: Physical from Immaterial If it is the plumes that make the plumage it is not the glue that makes the gluing.6 Max Ernst Each of the above art-historical rejections prompted actions and responses that ultimately sent shockwaves throughout the world of art and subsequently the world. Moreover, the categorically different kinds of glue these three stories are held together by are interesting to consider. By pointing out the types of connection to the history of collage, each story can be better understood. In other words, if all we took away from these stories was that they are connected to art history and that they all deal with collage and missed opportunity, then we miss gleaning the vital ideas that help us to understand the different strategies of virtual glue they contain.

All collage is a process of finding and binding.

And of course, most of us take for granted the methods of gluing. We spend time instead with the juxtaposition of images and materials and don't think the glue is important except for keeping things physically stuck together.

Such oversight is missed opportunity, because physical adhesives are not the essential glue that binds imagery to the materials used in a collage. With 100 years of collage development, it's time to separate physical adhesives from 18

Respective of their art, it may be said that Picasso and Braque approached cubism and collage with a kind of formal glue as they helped to define and express the vitality of the elements and principles of design in an effort to break the traditions of naturalism— something the Bauhaus would later build an entire institution of learning upon, which in turn, inspired art colleges and university art programs worldwide to train future generations of artists by. But formal glue is still only a basic and rudimentary type of virtual glue, because it already existed in our art jargon and vernacular7 centuries before. The others types of immaterial glue are not yet in our lexicon of glue terminology and they beckon our attention.

Pattern Glue (Reptilian Glue) Pattern-based glue is perhaps the oldest form of glue and thus the easiest to recognize. The human eye and mind are particularly well suited to identify rhythms, formulas, models, rules

and conventions. The heartbeat, shapes in the scattered stars, numerology and anything repetitive, becomes a signal to anticipate what comes next. Patterns identify things we move toward and away from and they help the formation of logic.

connective factors. Duchamp's glue is decidedly conceptual with a strong driving political factor.

Political Glue, a faction of conceptual glue is about governing beliefs and is the stuff that binds people together through law, religion and custom.

Emotional Glue (Limbic Glue) The intuitive, playful and scavenger aesthetic of Kurt Schwitters work has more to do with emotional glue. Gluing with this type of glue champions feelings, intuitions and emotive gestures. This is a particularly difficult glue to point out in works that use it because feelings are often difficult to name and feelings are often experienced without or before words can be formed to frame them. That pointed out however, emotional glue is no less powerful than other types of glue because it so easily sparked if not informed by the other glue types.

Memorial and associative glues easily drive the connections to things with great and enduring force.

Decidedly human in nature, these are but a few of the general and most widely used types of glues artists use when they construct a composite work of art—which is to say any work of art. Virtual Annex then, is an exploration that exemplifies these basic types.

Linguistic Glue (Left Hemispheric, Neocortical Glue) Language as a unifying factor, any language, all languages, text and numbers constitute this kind of glue. Linguistic glue is the most communicative glue, because of the ease of comprehension and its capability of being translated from one language to the next.

Associative Glue (Right Hemispheric, Neocortical Glue) Associative glue is a metaphorical and allusive type of glue. It allows for the thinnest but often the most rewarding and surprising connections.

It tolerates lies and truths together; it extends everything into a possibility of semblances and interconnectivity, and, it is the glue of dreams.

Conceptual Glue (Left & Right Hemispheric, Neocortical glue) Conceptual glue values idea over all other

Virtual Glue: Agent of Meaning Epoxy, the strongest of commercially available, physical adhesives, is a two-part glue that uses a catalyst to speed and permanently fix or cure the glue. With that in mind, the study of glue type is perhaps best thought of as the identification of the different catalysts of content. As the various types of virtual glue demonstrate, physical adhesives require a catalyst that quickens, cures and fixes the ideas being expressed to the found or manufactured materials used.

Because collages are typically made with many different kinds of virtual glue, in truth, it is difficult to isolate and separate one virtual glue type from another during the process.

Concomitantly, it is likely that several human skills transpire simultaneously when viewing art. Indeed, too much of the human mind fires at the same time in many varied combinations to exclude one type of glue or skill from transpiring. In any combination and intensity, we receive, feel, intuit, think, act, express, respect,8 and of course switch or transition between these frequently, every moment throughout our existence.9 As the Strange Glue (Traditional & Avantgarde Collage) exhibition points out, despite 19

affinities with one category, a given collage may be linked to and straddle more than one art-historical category. Identifying glue type runs into the same muddled situation. While a pragmatist attitude might dismiss the need for glue categorization, it is nevertheless not a futile exercise. To understand what binds a multinode collage is to get to closer to its subject and inspire future endeavors.

While the Virtual Annex is not a ground-breaking show, it nevertheless came into being, ironically, because of an initial exclusion of artists from its sister exhibition, which as we have seen, appropriately echoes the history of collage. Nor is the Virtual Annex the first digital exhibition.

That acknowledged however, the Virtual Annex very well might be the first virtually annexed portion of a larger ongoing exhibit. It is fitting then, that the Virtual counterpart of Strange Glue introduces two new categories that are not represented in the analog show: landscape and conceptual art. However, due to the organization of the Virtual show that explores glue types, the attentive eye and mind will have to search for art-historical categories among the categories of glue in this present volume; an encouraged task that demonstrates the permeability of approach and the wonderful treachery of categories.

Virtual Annex allowed for a deeper exploration of the ways in which collages are constructed.

Hopefully, Virtual Annex initiates the search for an exhaustive list of virtual glue types. After all, with such a list indoctrinated into collage's vernacular, who knows where future generations of artists will push composite imagery. But for the moment, identifying the types of glue that makes up the work in Virtual Annex provides an opportunity to come closer to understanding why these works of art haunt the mind and keep viewers coming back to take another look— precisely what prompted this show in the first place.

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Finally and poignantly, because the show afforded an opportunity to articulate what would otherwise have laid dormant, it should be considered that the Virtual Annex is the catalyst that activates the Collage at 100 exhibition series.

Todd Bartel Gallery Director, Curator Thompson Gallery

Endnotes 1. "My Fountain was not a negation: I simply tried to create a new idea for an object that everybody thought they knew. Anything can become something else, that was what I wanted to show,” Marcel Duchamp speaking to Ulf Linde (1961), quoted in Harald Szeeman, ed., Marcel Duchamp, Basel and Ostfildern-Ruit: Museum Jean Tinguely Basel and Hatje Cantz, 2002, p. 90.

2. David Horsey, Los Angeles Times, Higgs Boson Binds the Universe, But Humans Give It Meaning, July 5, 2012

rigor (neo cortex), but only after the first two evolutionary rungs are achieved. Todd Bartel taught at the Mead School from 1992 to 2000 and developed an art curriculum that capitalized on an extensive application of the triune brain model.

9. Of course, many artists are famous for the work they have made that isolates one skill or glue, Duchamp being a particularly outstanding example.

3. Brandon Taylor, Collage: The Making of Modern Art, Thames & Hudson, New York, NY, 2006, p. 17.

4. The Richard Mutt Case was probably co-written with the other editors of The Blind Man including, Beatrice Wood, H.P. Roché; William Canfield, Marcel Duchamp's Fountain: Aesthetic Object, Icon, or Anti-Art? in The Definitively Unfinished Marcel Duchamp, edited by Thierry de Duve, Cambridge, MA, The MIT Press 1991, p. 145 5. Marc Dachy, Dada: The Revolt of Art, Abrams, New York, 2006, p. 46.

6. Max Ernst, Max Ernst: Beyond Painting, The Documents of Modern Art, (Robert Motherwell, Director), Wittenborn, Schultz, Inc., New York, NY, 1948. p. 13 7. Artists and teachers refer to this as the "formal" aspects of a work, and that has been linked to modernism, which is heavily criticized today. However, when you realize that no work of art can ever escape the use of "formal glue" then the full range of elements and principles of design because a arsenal of possibilities.

8. Inspired by the scientific work of Paul D. MacLean and his Triune Brain Model, these seven skills were first proposed by the faculty of the Mead School, of Stamford, CT as being basic human skills. The Mead School was the first school to develop an approach to teaching and learning using MacLean's model, which identifies the Reptilian, Limbic (Mammalian) and Neocortical brains as having evolved in a particular order with different purposes. It was this basic premise of "ordered brains," that the mind of three minds could offer insight and inspiration on the part of the teachers of the Mead school to address different learning styles, by respecting the evolutionary order of brain development within the classroom setting—not jumping to neocortical activity too early when connecting with students. For example, first tend to the creation of a safe and alluring environment (reptilian, then mammalian), then work to develop a strong relationship with students (limbic), eventually and ultimately challenge students through academic 21

Pattern glue

[reptilian complex, Rhythm, sequence]

John Ros Untitled (Hedda Sterne Series), 2010 tape, cloth on paper 30 x 22 inches 24

Debra Bretton Robinson Baltimore Sun, 2011 acrylic paint, found wood scraps, wood glue on stretched canvas 36 x 24 x 3 inches 25

Clifford Tisdell untitled, 2007 cardboard, latex on canvas 43 x 46 x 6 inches 26

Catherine Carter Pulse, 2008 acrylic, fabric collage on canvas 20 x 20 inches 27

Carolyn Oberst Crossing the Line, 2011 oil on cut gessoed paper of different thicknesses 39 x 29 inches 28

Jonas Criscoe Short Blocks, 2011 acrylic, collage, wood glue, vintage album covers on panel 24 x 24 x 3 inches 29

Rachel Selekman Pink Growth, 2005 watering can rose, vintage metal sequins, vintage metallic thread on paper 24 x 15.75 inches 30

Ryan Sarah Murphy The Half-life of Regret, 2011 cardboard, glue, foamcore 19 x 10.5 inches 31

Andrea Burgay A Little Green, 2011 fashion magazines, nature books, glue on found paper 18 x 12 inches 32

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Emotional glue

[limbic system, feelings, gesture]

Judith Brassard Brown Above the Sea, 2011 oil, paper, cold wax on board 24 x 24 inches 36

Lili Francuz Télérama, 2011 advertisement papers from the Paris Metro, transfer print on panel 16 x 16 inches 37

Tawni Shuler Strata, 2011 charcoal, pastel, marker, acrylic, ink on Mylar and paper 36 x 24 inches 38

John Mosher Automosher Fancy, Vol. 1, 2011 collage, ink, charcoal, graphite, acrylic, oil pastel, soft pastel on Rives BFK 12 x 9 inches 39

Antoinette Winters Weighted with Memory, No.2, 2011 collage, acrylic ink, India ink, Mylar on paper 11 x 30 inches 40

Deborah Schneider Book 8, page 11, 2008-2011 collage, newspaper gouache, Flashe, charcoal on book pages 10 x 26 inches 41

Lisa Fromartz Bluizon, 2009 paint, collage, archival pigment inkjet print on synthetic silk, mounted on aluminum panel 33 x 92 inches 42

Armin Mühsam Witch Doctors, 2009 India ink, graphite, marker on paper 12 x 8 inches 43

Mary King Stadium, 2011 acrylic on cut Dura-Lar on printmaking paper 17.5 x 25 inches 44

Adam Tolland Adam Hearts Francis, 2010 oil bar, India ink, water-soluble crayon, paper collage, re-purposed woodcut on Rives BFK 22 x 30 inches 45

Memorial Glue

[Limbic system, recollection, dreams]

Adam Sperling Brothers, 2011 archival giclee prints on paper and canvas, photocopy transfer, gesso, Jade 403, wood frame mounted on board 28 x 28 x 2 inches 48

Kathy Bruce Winged Menina, 2010 paper, newspaper 12 x 8.5 inches 49

Brant Moorefield untitled, 2011 pencil, acrylic paint, photograph, aluminum tape on paper 10.25 x 7.175 inches 50

Emily Davidson Shelter, 2011 oil, paper on panel 10 x 12 inches 51

Katie Dell Kaufman Future Perfect, 2010 book bindings, book pages, found papers, matte medium, gold leaf, acrylic, photo transfer on watercolor paper 16 x 22 inches 52

Bonnie Gloris Sandstorm, 2010 charcoal, pumice stone medium, collage on mylar and canvas 5 x 5 x 1 inches 53

Rachel B. Abrams Untitled (Distorted Senses of Proportion), 2010 ink, paper collage 8.5 x 7.75 inches 54

Robin Sherin Flanges/Gray #8, 2011 paper, pencil on paper 9 x 6 inches 55

Jan Johnson This May Be The Last Time, 2011 cut paper, enameled pins, found objects on carbon paper 11 x 8.5 inches 56

Stephen Mead Returning, 2009 paint, glazes, Crayola self-drying clay, curtain fringe, candle wax, river stones, glittering discs, moss, glue 20 x 16 x 2 inches 57

Brenda Phillips Lapis Lazuli, 2004 collage, oil on canvas 30 x 40 inches 58

Marja Lianko Victory Garden #3, 2011 collage, acrylic, silkscreen monoprint on panel 14 x 18 inches 59

Sabe Lewellyn But Watch Punches, 2011 cast acrylic on panel, found objects 20 x 16 x 8 inches 60

Peter Ciccariello Distance of V, 2011 photo collage, 3-D image matrix print (limited edition) 26 x 39 inches 61

Associative Glue

[Neocortex/right hemisphere, analogy, simile]

Lauren Curtis Micro/Macrocosm Tree, 2012 digital photo collage 16 x 12 inches 64

Leslie Vigeant The Gardener, 2011 magazine, journal, paper pieces, rubber cement, Yes! glue, rescued plastic frame, latex paint 11 x 9 inches 65

Joseph Geary Scorpio Rising, 2011 cut found image, matte medium, glitter on paper 9 x 9 inches 66

Mary Campbell Eye Mandala 48, 2010 collage, magazine paper on smooth dyed cardstock 12 x 12 inches 67

Mary Gillis Wind Poem #4, 2003 digital inkjet print on paper 5 x 7 inches 68

John McCaughey Ill-@dvised Pry.orityz (No.14), 2011 latex paint, spray paint, tape, found materials on "Priority Mail" stickers 6 x 9 inches 69

Stacy N. Isenbarger Childlike Wishes (Enlightenment), 2011 stitched drawing, found imagery, paint, grommets on paper 17 x 23 inches 70

71

Conceptual Glue

[Neocortex, idea, game, irony, humor]

Anthony Heinz May Game of Stick, 2011 wood, glue, paint 3 x 20 x 48 inches 74

Jánis Nedéla Scission, 2005 collage, acrylic over page leaf of commercially printed text 16 x 14 inches 75

Carla E. Reyes Miscommunications: Sticks and Stones, 2011 acrylic paint with sand, tree branches, pebbles on stretched canvas 20 x 24 inches 76

Emmet Sandberg iConstructors 1, 2011 paper, appropriated objects, mirror 12 x 12 x 12 inches 77

political Glue

[Limbic system, neocortex, critique, cultural identity]

Harlan Lovestone Kings of Amerikkka, 2006 acrylic paint, glue, paper, gel medium on burlap sewed together by hand 43 x 72 inches 80

Luc Fierens Tolérance Extreme, 2011 collage on archival digital print 8.27 x 11.69 inches 81

Aleena Worfe Augustine, a Subject of Hysteria, 2012 photographs, lead, charcoal, magazine paper, manila paper on archival drawing paper 14 x 14 inches 82

Tamara Staser-Meltzer Amaterasu, 2011 collage, gel matte medium, canvas covered panel board 36 x 24 inches 83

Sara Holwerda Barmaiden (Frames 1, 4, 5, of 11), 2011 inkjet print on paper 16 x 22 inches each 84

Sara Holwerda Barmaiden (Frames 8, 10 , 11, of 11 ), 2011 inkjet print on paper 16 x 22 inches each 85

Artists’ Bios

Rachel B. Abrams, Brooklyn, NY (b. 1975) rachelbabramsart.blogspot.com Debra Bretton Robinson, Chelmsford, MA (b. 1967) debrabrettonrobinson.wordpress.com Judith Brassard Brown, Dorchester, MA (b. 1952) judithbrassardbrown.com Kathy Bruce, New York, NY (b. 1956) Kathy Bruce Artist on Facebook Andrea Burgay, Brooklyn, NY (b. 1981) andreaburgay.com Mary Campbell, Staten Island, NY (b. 1955) marycampbell.net Catherine Carter, Holliston, MA (b. 1962) catherinecarterart.com Peter Ciccariello, Ashford, CT (b. 1949) invisiblenotes.blogspot.com Jonas, Criscoe, Minneapolis, MN (b. 1979) rosaluxgallery.com Lauren Curtis, Franklin Park, NJ (b. 1966) laurencurtisart.weebly.com Emily Davidson, Philadelphia, PA (b. 1987) emilykdavidson.com Luc Fierens, Weerde, Belgium (b. 1961) lucfierens.tumblr.com Lili Francuz, Fort Collins, CO (b. 1946) lilifrancuz.com Lisa Fromartz, New York, NY lisafromartz.com Joseph Geary, Boston, MA (b. 1988) JosephGeary.com Mary Gillis, Boston, MA (b. 1947) Bonnie Gloris, Pittsburgh, PA (b. 1984) bonnieglorisfineart.com Sara Holwerda, Chicago, IL (b. 1982) saramholwerda.com Stacy N. Isenbarger, Moscow, ID (b. 1982) stacyisenbarger.com Jan Johnson, Lowell, MA (b. 1968) Jan Johnson Studio on Facebook Katie Dell Kaufman, Takoma Park, MD (b. 1957) katiedellkaufman.com Mary King, Chicago, IL (b. 1942) marykingart.com Sabe Lewellyn, Seattle,WA (b. 1977) sabelewellyn.com Marja Lianko, Cambridge, Ma (b. 1941) marjalianko.com Harlan Lovestone, Greenville, SC (b. 1972) harlanlovestone.blogspot.com

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Anthony Heinz May, Brooklyn, NY (b. 1977) anthonyheinzmay.wix.com/art John McCaughey, Providence, RI (b. 1987) johnmccaugheyart.com Stephen Mead, Albany, NY (b. 1963) absolutearts.com/portfolios/s/stephenmead Brant Moorefield, New York, NY (b. 1970) brantmoorefield.com John Mosher, Salisbury, MD (b. 1979) johncmosher.com Armin Mühsam, Maryville, MO (b. 1968), Ambacher Contemporary, Munich, Germany Ryan Sarah Murphy, New York, NY (b. 1978) ryansarahmurphy.com Jánis Nedéla, North Fremantle, Australia (b. 1955) janisnedela.com.au Carolyn Oberst, New York, NY (b. 1946) carolynoberst.com Brenda Phillips, Plainfield, NH (b. 1956) brendaphillips.com Carla E. Reyes, Brooklyn, NY (b. 1974) carlaereyes.com John Ros, New York, NY (b. 1978) johnros.com Emmet Sandberg, Green Lake, WI (b. 1970) generateandtest.com Deborah Schneider, Andes, NY (b. 1954) Rachel Selekman, Brooklyn, NY (b. 1963) rachelselekman.com Robin Sherin, New York, NY (b. 1955) robinsherin.com Tawni Shuler, Sheridan, Wyoming (b. 1982) tawnishuler.com Adam Sperling, Brooklyn, NY (b. 1985) adamsperling.com Tamara Staser-Meltzer, San Francisco, CA (b. 1973) tamarastasermeltzer.net Clifford Tisdell, Newark, NJ (b. 1950) clifftisdellart.com Adam Tolland, Chicago, Il (b. 1982) ilovehomey.com/tolland.html Leslie Vigeant, Portland, OR (b. 1985) leslievigeant.com Antoinette Winters, Waltham, MA (b. 1948) amwinters.com Aleena Worfe, Albuquerque NM, (b. 1966) aleenaworfe.com

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Thompson Gallery