{"id":11963,"date":"2022-01-03T13:23:00","date_gmt":"2022-01-03T18:23:00","guid":{"rendered":"http:\/\/kolajmagazine.com\/content\/?p=11963"},"modified":"2022-01-04T13:23:51","modified_gmt":"2022-01-04T18:23:51","slug":"the-third-thing-is-immaterial","status":"publish","type":"post","link":"http:\/\/kolajmagazine.com\/content\/content\/articles\/the-third-thing-is-immaterial\/","title":{"rendered":"The Third Thing Is Immaterial"},"content":{"rendered":"\n
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“Readymades of the 20th Century” at Galerie Anselm Dreher, Berlin
Photo by Layin, 10 May 2017 (CC BY-SA 4.0)<\/figcaption><\/figure>\n\n\n\n

FROM KOLAJ 34<\/p>\n\n\n\n

Are Readymades Uncollages?<\/h2>\n\n\n\n

In Kolaj<\/em> 34, Todd Bartel continues his exploration of uncollage, this time turning his attention to Readymades. He writes, “What is an uncollage? In the physical world, uncollage is a composite image made with seamless unison. In the mind, uncollage is an intellectual coupling that suggests a third thing.” Bartel investigates this idea by considering the Readymades of Marcel Duchamp, Pablo Picasso, and Jack Massey.<\/p>\n\n\n\n

This article by Todd Bartel appears in\u00a0<\/em>Kolaj\u00a034. To read the full article,\u00a0SUBSCRIBE<\/a>\u00a0to\u00a0Kolaj Magazine\u00a0or\u00a0Get a Copy of the Issue<\/a>.<\/em><\/strong><\/p>\n\n\n\n

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P. P. Ruiz\u2019s Bike<\/em> by Jack Massey
34.25\u201dx70\u201dx14\u201d; Peugeot bicycle (c. 1900); 1984 & 2016.
Installation view at the Thompson Gallery, Cambridge School of Weston, Watertown, Massachusetts, USA, 2017. Courtesy of the artist.<\/figcaption><\/figure>\n\n\n\n

Can an act of intellectual coupling be art? You decide. But I would offer this: the immateriality of the third thing is what is most activating. Uncollage comes alive in the mind.<\/p><\/blockquote>\n\n\n\n

This article by Todd Bartel appears in\u00a0<\/em>Kolaj\u00a034. To read the full article,\u00a0SUBSCRIBE<\/a>\u00a0to\u00a0Kolaj Magazine\u00a0or\u00a0Get a Copy of the Issue<\/a>.<\/em><\/strong><\/p>\n\n\n\n

Todd Bartel is a collage-based artist. His work assumes assembled forms of painting, drawing and sculpture that examine the roles of landscape and nature in contemporary culture. Since 2002, Bartel has taught drawing, painting, sculpture, installation art and conceptual art at the Cambridge School of Weston, Weston, Massachusetts, USA. He is the founder and the Director of the Cambridge School\u2019s Thompson Gallery, a teaching gallery dedicated to thematic inquiry, and \u201cIS\u201d (Installation Space), a proposal-based installation gallery. Bartel holds a BFA in painting from Rhode Island School of Design and an MFA in painting from Carnegie Mellon University. Bartel\u2019s four-part series on Uncollage appeared in <\/em>Kolaj 25-28. Learn more at www.toddbartel.com<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

FROM KOLAJ 34 Are Readymades Uncollages? In Kolaj 34, Todd Bartel continues his exploration of uncollage, this time turning his attention to Readymades. He writes, “What is an uncollage? In the physical world, uncollage is a composite image made with…<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":6,"featured_media":11964,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"gallery","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[6],"tags":[],"class_list":["post-11963","post","type-post","status-publish","format-gallery","has-post-thumbnail","hentry","category-articles","post_format-post-format-gallery"],"jetpack_featured_media_url":"http:\/\/kolajmagazine.com\/content\/wp-content\/uploads\/Readymades_of_20th_century.jpg","jetpack_shortlink":"https:\/\/wp.me\/p2QTD7-36X","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":12632,"url":"http:\/\/kolajmagazine.com\/content\/content\/articles\/uncollage-in-action-knoxville\/","url_meta":{"origin":11963,"position":0},"title":"Uncollage in Action: Knoxville","author":"Christopher Byrne","date":"10 June 2022","format":"gallery","excerpt":"Palimpsest by Richard Clarke18\"x24\"; watercolor on paper; 1960. Knoxville Museum of Art, 2012 gift of Stephanie and John Case, 2012.03.01 FROM KOLAJ 35 Todd Bartel Interprets Selections from \u201cCurrents\u201d at the Knoxville Museum of Art Uncollage is rather like water\u2019s capacity to morph, eddy, flow, and conform to any shape,\u2026","rel":"","context":"In "Articles"","block_context":{"text":"Articles","link":"http:\/\/kolajmagazine.com\/content\/category\/content\/articles\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Clark-Richard-Palimpsest.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Clark-Richard-Palimpsest.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Clark-Richard-Palimpsest.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Clark-Richard-Palimpsest.jpg?resize=700%2C400 2x"},"classes":[]},{"id":8617,"url":"http:\/\/kolajmagazine.com\/content\/content\/articles\/before-its-an-uncollage\/","url_meta":{"origin":11963,"position":1},"title":"Before It’s an Uncollage","author":"Christopher Byrne","date":"4 September 2019","format":"gallery","excerpt":"You Can Stop Carrying Her by Talin Megherian (22.875\"x18\"; gouache and ink on paper; 2014). Courtesy of the artist. FROM KOLAJ 26 What does an uncollage look like before it was made into a seamless whole? In the second installment in his four-part series exploring the notion of Uncollage, Todd\u2026","rel":"","context":"In "Articles"","block_context":{"text":"Articles","link":"http:\/\/kolajmagazine.com\/content\/category\/content\/articles\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Talin-Megherian-You-Can-Stop-Carrying-Her-1.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Talin-Megherian-You-Can-Stop-Carrying-Her-1.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Talin-Megherian-You-Can-Stop-Carrying-Her-1.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Talin-Megherian-You-Can-Stop-Carrying-Her-1.jpg?resize=700%2C400 2x"},"classes":[]},{"id":9045,"url":"http:\/\/kolajmagazine.com\/content\/content\/articles\/uncollage-in-photography-filmography\/","url_meta":{"origin":11963,"position":2},"title":"Uncollage in Photography & Filmography","author":"Christopher Byrne","date":"29 December 2019","format":"gallery","excerpt":"untitled photograph by Jerry Uelsmann14\"x11\"; gelatin silver print; 1976Courtesy of the artist. FROM KOLAJ 27 Uncollage in the work of Jerry Uelsmann, Fran Forman, Vik Muniz, Eadweard James Muybridge, and Oscar Gustav Rejlander. For the first time in the magazine's history, we are featuring a photomontage on the cover: Untitled\u2026","rel":"","context":"In "Articles"","block_context":{"text":"Articles","link":"http:\/\/kolajmagazine.com\/content\/category\/content\/articles\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Jerry-Uelsmann-Untitled.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Jerry-Uelsmann-Untitled.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Jerry-Uelsmann-Untitled.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Jerry-Uelsmann-Untitled.jpg?resize=700%2C400 2x"},"classes":[]},{"id":9704,"url":"http:\/\/kolajmagazine.com\/content\/content\/articles\/collection-is-cohesion\/","url_meta":{"origin":11963,"position":3},"title":"Collection Is Cohesion","author":"Christopher Byrne","date":"14 May 2020","format":"gallery","excerpt":"Virtual Artifacts: Eclecticism by Bo Joseph10.625\"x14.75\"; ink, acrylic, tempera, gesso and collage on offset printed catalog pages, mounted on board; 2015Photo by Kevin Noble. FROM KOLAJ 28 Uncollage, a New Word for a Particular Set of Collage-Based Operations by Todd Bartel In the spring of 1999, I visited Bo Joseph\u2019s\u2026","rel":"","context":"In "Articles"","block_context":{"text":"Articles","link":"http:\/\/kolajmagazine.com\/content\/category\/content\/articles\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Bo-Joseph-Virtual-Artifacts-Eclecticism.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Bo-Joseph-Virtual-Artifacts-Eclecticism.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Bo-Joseph-Virtual-Artifacts-Eclecticism.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Bo-Joseph-Virtual-Artifacts-Eclecticism.jpg?resize=700%2C400 2x"},"classes":[]},{"id":8362,"url":"http:\/\/kolajmagazine.com\/content\/kolaj-fest-new-orleans\/uncollaging-new-orleans\/","url_meta":{"origin":11963,"position":4},"title":"Uncollaging New Orleans","author":"Christopher Byrne","date":"17 June 2019","format":"gallery","excerpt":"AT KOLAJ FEST NEW ORLEANS Uncollage Tour of the Ogden Museum of Southern Art Todd Bartel will lead a special tour of the Ogden Museum of Southern Art with an eye for examples of \"Uncollage\". The subject of a series of articles appearing in Kolaj Magazine, \"uncollage\" is an art\u2026","rel":"","context":"In "Kolaj Fest New Orleans"","block_context":{"text":"Kolaj Fest New Orleans","link":"http:\/\/kolajmagazine.com\/content\/category\/kolaj-fest-new-orleans\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Visual-Vernacular-at-Ogden-Museum.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Visual-Vernacular-at-Ogden-Museum.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Visual-Vernacular-at-Ogden-Museum.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Visual-Vernacular-at-Ogden-Museum.jpg?resize=700%2C400 2x"},"classes":[]},{"id":7034,"url":"http:\/\/kolajmagazine.com\/content\/kolaj-fest-new-orleans\/uncollage\/","url_meta":{"origin":11963,"position":5},"title":"Uncollage","author":"Christopher Byrne","date":"3 June 2018","format":"gallery","excerpt":"AT KOLAJ FEST NEW ORLEANS A New Word for a Particular Set of Collage Operations Todd Bartel is a collage-based artist. His work assumes assembled forms of painting, drawing and sculpture that examine the roles of landscape and nature in contemporary culture. 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