{"id":12632,"date":"2022-06-10T02:22:00","date_gmt":"2022-06-10T06:22:00","guid":{"rendered":"http:\/\/kolajmagazine.com\/content\/?p=12632"},"modified":"2022-05-29T10:30:58","modified_gmt":"2022-05-29T14:30:58","slug":"uncollage-in-action-knoxville","status":"publish","type":"post","link":"http:\/\/kolajmagazine.com\/content\/content\/articles\/uncollage-in-action-knoxville\/","title":{"rendered":"Uncollage in Action: Knoxville"},"content":{"rendered":"\n
\"\"
Palimpsest<\/em> by Richard Clarke
18″x24″; watercolor on paper; 1960. Knoxville Museum of Art, 2012 gift of Stephanie and John Case, 2012.03.01<\/figcaption><\/figure>\n\n\n\n

FROM KOLAJ 35<\/p>\n\n\n\n

Todd Bartel Interprets Selections from \u201cCurrents\u201d at the Knoxville Museum of Art<\/h2>\n\n\n\n

Uncollage is rather like water\u2019s capacity to morph, eddy, flow, and conform to any shape, but also transform between solid, liquid, gas, and \u201cinframince\u201d\u2014to borrow Duchamp\u2019s collage-based term of subtle co-mingling changes. This broad plasticity describes the versatility of uncollage in the work on display at the Knoxville Museum of Art. In the article, “Uncollage in Action” which appears in Kolaj<\/em> 35<\/a>, Todd Bartel reports on his experience using his theory to interpret artwork on view at the Tennessee museum. He writes, “Is there a seamless union of sourced parts? Is the collage aesthetic subsumed into an unexpected medium or in a medium otherwise devoid of paper and glue? Is the flow of material that constitutes the collage aesthetic iconic in its own way?”<\/p>\n\n\n\n

This article appears in\u00a0<\/em>Kolaj\u00a035. From the Scottish Highlands to the shores of Lake Ontario to Mombasa, Kenya, the printed magazine brings the wide-world of collage to your doorstep. To read the full article,\u00a0SUBSCRIBE to\u00a0<\/a><\/em>Kolaj Magazine<\/a>\u00a0or\u00a0Order a Copy of the Issue<\/a>.<\/em><\/p>\n\n\n\n

\"\"
Todd Bartel speaking in front of Lost in Steps (greenpepperpowderscape)<\/em> by Loris Cecchini
Lambda print on Plexiglas; 2005. Mint Museum, Gift of the Heather and Tony Podesta Collection, 2013.68.1. Photo by Ric Kasini Kadour.<\/figcaption><\/figure>\n\n\n\n

The uncollages in the \u201cCurrents\u201d show included the artists: Richard Clarke (Noblesville, Indiana 1923-1997 Knoxville), Hamlett Dobbins (Knoxville 1970; lives and works in Memphis), Susanne K\u00fchn (Leipzig, Germany 1969; lives and works in Freiburg, Germany), Julie Heffernan (Peoria, Illinois 1956; lives and works in Brooklyn), Jiha Moon (Daegu, South Korea 1973; lives and works in Atlanta), and Robert Rauschenberg (Port Arthur, Texas 1925-2008 Captiva Island, Florida). The six uncollages in \u201cCurrents\u201d comprised three paintings and three prints, each presenting a unique strategy for blending composite imagery.<\/p><\/blockquote>\n\n\n\n

This article appears in\u00a0<\/em>Kolaj\u00a035. From the Scottish Highlands to the shores of Lake Ontario to Mombasa, Kenya, the printed magazine brings the wide-world of collage to your doorstep. To read the full article,\u00a0SUBSCRIBE to\u00a0<\/a><\/em>Kolaj Magazine<\/a>\u00a0or\u00a0Order a Copy of the Issue<\/a>.<\/em><\/p>\n\n\n\n

\u201cCurrents: Recent Art from East Tennessee and Beyond\u201d is ongoing at the Knoxville Museum of Art. Learn more at www.knoxart.org<\/a>.<\/em><\/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. His article \u201cThe Third Thing Is Immaterial: Are Readymades Uncollages?\u201d appeared in<\/em> <\/em>Kolaj 34<\/em><\/a>. Learn more at www.toddbartel.com<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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, but also transform between solid, liquid, gas, and \u201cinframince\u201d\u2014to borrow…<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":6,"featured_media":12633,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"gallery","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","footnotes":""},"categories":[6,60],"tags":[],"jetpack_featured_media_url":"http:\/\/kolajmagazine.com\/content\/wp-content\/uploads\/Clark-Richard-Palimpsest.jpg","jetpack_shortlink":"https:\/\/wp.me\/p2QTD7-3hK","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":8617,"url":"http:\/\/kolajmagazine.com\/content\/content\/articles\/before-its-an-uncollage\/","url_meta":{"origin":12632,"position":0},"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":12632,"position":1},"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":8362,"url":"http:\/\/kolajmagazine.com\/content\/kolaj-fest-new-orleans\/uncollaging-new-orleans\/","url_meta":{"origin":12632,"position":2},"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":11963,"url":"http:\/\/kolajmagazine.com\/content\/content\/articles\/the-third-thing-is-immaterial\/","url_meta":{"origin":12632,"position":3},"title":"The Third Thing Is Immaterial","author":"Christopher Byrne","date":"3 January 2022","format":"gallery","excerpt":"\"Readymades of the 20th Century\" at Galerie Anselm Dreher, BerlinPhoto by Layin, 10 May 2017 (CC BY-SA 4.0) 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? 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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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