{"id":8617,"date":"2019-09-04T10:46:16","date_gmt":"2019-09-04T14:46:16","guid":{"rendered":"http:\/\/kolajmagazine.com\/content\/?p=8617"},"modified":"2019-09-04T20:37:14","modified_gmt":"2019-09-05T00:37:14","slug":"before-its-an-uncollage","status":"publish","type":"post","link":"http:\/\/kolajmagazine.com\/content\/content\/articles\/before-its-an-uncollage\/","title":{"rendered":"Before It’s an Uncollage"},"content":{"rendered":"\n
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You Can Stop Carrying Her<\/em> by Talin Megherian
(22.875″x18″; gouache and ink on paper; 2014). Courtesy of the artist.<\/figcaption><\/figure>\n\n\n\n

FROM KOLAJ 26<\/p>\n\n\n\n

What does an uncollage look like before it was made into a seamless whole?<\/h2>\n\n\n\n

In the second installment in his four-part series exploring the notion of Uncollage, Todd Bartel asks, What does an uncollage look like before it was made into a seamless whole?<\/p>\n\n\n\n

This article appeared in <\/em>Kolaj #26. To see the entire issue, SUBSCRIBE<\/a> to <\/em>Kolaj Magazine or Get a Copy of the Issue<\/a>.<\/em> <\/p>\n\n\n\n

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Opera Prima<\/em> by Ginnie Gardiner
(14″x11″; mixed media collage; 1999). Courtesy of the artist. <\/figcaption><\/figure>\n\n\n\n

With such a vast and infinitely expansive playground for composite imagery, after the modernist revolution, painting became a wonderfully magnanimous activity in which the traditional palette\u2014which once solely held pigments, extenders, and solvents\u2014was expanded to include any importable object in the world. Furthermore, the advent of collage also evolved to include virtual examples of itself. It is to this kind of undoing\u2014of the need to be physically pasted\u2014for which this second of the Uncollage series lays the groundwork. If the end product of an uncollage looks like a painting\u2014or a digital collage or a film, both of which I explore in Part III of the series\u2014what does an uncollage look like before it is made into a seamless whole? In this article, I examine various forms of transferred imagery via the working methods of Grandma Moses (1860-1961); Ginnie Gardiner (1951- ), and Talin Megherian (1962- ).<\/p>\n\n\n\n

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Bennington<\/em> by Anna Mary Robertson “Grandma” Moses
(17.75″x26″; oil on pressed wood; 1945). Bennington Museum, Museum purchase 1986.310<\/figcaption><\/figure>\n\n\n\n

This article appeared in <\/em>Kolaj #26. To see the entire issue, SUBSCRIBE<\/a> to <\/em>Kolaj Magazine or Get a Copy of the Issue<\/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. 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 Kolaj Magazine Artist Directory page has more information, as well as his website, www.toddbartel.com<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

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 Bartel asks, What does an uncollage look like before…<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":6,"featured_media":8632,"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\/Talin-Megherian-You-Can-Stop-Carrying-Her-1.jpg","jetpack_shortlink":"https:\/\/wp.me\/p2QTD7-2eZ","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":11963,"url":"http:\/\/kolajmagazine.com\/content\/content\/articles\/the-third-thing-is-immaterial\/","url_meta":{"origin":8617,"position":0},"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? In the physical\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\/Readymades_of_20th_century.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Readymades_of_20th_century.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Readymades_of_20th_century.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Readymades_of_20th_century.jpg?resize=700%2C400 2x"},"classes":[]},{"id":12632,"url":"http:\/\/kolajmagazine.com\/content\/content\/articles\/uncollage-in-action-knoxville\/","url_meta":{"origin":8617,"position":1},"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":8362,"url":"http:\/\/kolajmagazine.com\/content\/kolaj-fest-new-orleans\/uncollaging-new-orleans\/","url_meta":{"origin":8617,"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":9045,"url":"http:\/\/kolajmagazine.com\/content\/content\/articles\/uncollage-in-photography-filmography\/","url_meta":{"origin":8617,"position":3},"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":7034,"url":"http:\/\/kolajmagazine.com\/content\/kolaj-fest-new-orleans\/uncollage\/","url_meta":{"origin":8617,"position":4},"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. Since 2002, Todd Bartel has taught drawing, painting,\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\/Proportions-and-Table-Manners-by-todd-bartel.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Proportions-and-Table-Manners-by-todd-bartel.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Proportions-and-Table-Manners-by-todd-bartel.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Proportions-and-Table-Manners-by-todd-bartel.jpg?resize=700%2C400 2x"},"classes":[]},{"id":9704,"url":"http:\/\/kolajmagazine.com\/content\/content\/articles\/collection-is-cohesion\/","url_meta":{"origin":8617,"position":5},"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":[]}],"_links":{"self":[{"href":"http:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/posts\/8617"}],"collection":[{"href":"http:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"http:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/comments?post=8617"}],"version-history":[{"count":0,"href":"http:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/posts\/8617\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/media\/8632"}],"wp:attachment":[{"href":"http:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/media?parent=8617"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/categories?post=8617"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/tags?post=8617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}