{"id":3297,"date":"2014-10-21T01:17:23","date_gmt":"2014-10-21T05:17:23","guid":{"rendered":"http:\/\/kolajmagazine.com\/content\/?p=3297"},"modified":"2014-10-25T14:14:29","modified_gmt":"2014-10-25T18:14:29","slug":"issue-10-editorial-golden-threads","status":"publish","type":"post","link":"https:\/\/kolajmagazine.com\/content\/content\/articles\/issue-10-editorial-golden-threads\/","title":{"rendered":"Issue Ten Editorial: The Golden Threads of Collage"},"content":{"rendered":"

\"05_MARLA-PANKO_United-Z-web\"<\/p>\n

“The Golden\u00a0Threads of Collage”\u00a0by Ric Kasini Kadour<\/p>\n

United X<\/em> by Marla Panko is on cover of this issue of Kolaj<\/em>. A giant \u201cX\u201d sits atop a pile of shapes like a eureka in a world of confusion. The artist, who hails from Dundas, Ontario, has the most eloquent explanation of her process. \u201cI am guided by the desire to explore these truths through attempting to make visual sense of the complex world around us \u2014 to find meaning and order within the disconnected elements and discarded fragments of a chaotic modernity,\u201d she writes.<\/p>\n

The ideas of chaos, confusion, and modernity often come up when we talk about collage. What is it about mixing visual elements that leads us to these ideas? Why are we constantly trying to figure out the world we live in? We live in a time when practically the whole of human knowledge is accessible through a small box we carry in our pockets, when we spend hours and hours each day poring over neverending streams of information, and we know more about our world than any human being who has come before us. And yet, perhaps the most prevalent anxiety of our time is our failure to make sense of it all.<\/p>\n

At the heart of the practice of many collage artists is exactly this. Like ancient augurs, they mix and match the images and share them with us because, as Panko writes, \u201cI view the creative process as a metaphor for larger, simpler truths.\u201d But there is something else going on, something that is perhaps even more important that divination.<\/p>\n

\u201cThose \u2018X\u2019 and \u2018Z\u2019 Plexiglas letters were discovered at a flea market and were once used on a movie marquee signboard,\u201d writes Panko. \u201cThey have a new life – first, repurposed through the artwork, and now [on the cover of Kolaj] used again as in their original context of public signage.\u201d Here is the real magic of collage: the medium\u2019s unique ability to thread the needle of history and stitch our present to our past. After all, all the information in the world is simply the story of what has come before. Knowing it, having access to it, is pointless without it being connected to us, without it becoming part of the fabric of who we are.<\/p>\n

***<\/p>\n

You may notice some changes in this issue of Kolaj<\/em>. Gone is In the Studio which will continue online. In its place, we are pleased introduce Exhibition in Print where we present and explore critical ideas about collage by examining work related to a curatorial premise. The purpose is to develop and share an understanding of collage as a medium and a genre. In this feature, we discuss works by collage artists, many of whom are featured in the Kolaj Magazine Artist Directory.<\/p>\n

We welcome a number of new writers to Kolaj with this issue. The columns of art historian and critic Daniel Kany regularly appear in the Maine Sunday Telegram<\/em> and the Portland Press Herald<\/em>. He contributes a survey of recent collage exhibitions in Maine. Catherine G. Wagley writes about art in Los Angeles for L.A. Weekly<\/em>, Art21 Blog<\/em>, and Daily Serving<\/em>. Kimberly Musial Datchuk is finishing her PhD in Art History from Pennsylvania State University. She reviewed Lily Hinrichsen\u2019s box assemblages.<\/p>\n

PURCHASE ISSUE TEN<\/a>\u00a0|\u00a0SUBSCRIBE<\/a>\u00a0|\u00a0FACEBOOK<\/a><\/p>\n

Image:<\/strong>
\nUnited Z<\/em>
\nby Marla Panko
\n20″x20″
\nrelief construction with acrylic, paper and plastic
\n2012
\nImage courtesy of the artist<\/p>\n","protected":false},"excerpt":{"rendered":"

“The Golden\u00a0Threads of Collage”\u00a0by Ric Kasini Kadour United X by Marla Panko is on cover of this issue of Kolaj. A giant \u201cX\u201d sits atop a pile of shapes like a eureka in a world of confusion. The artist, who…<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":6,"featured_media":3298,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"gallery","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","footnotes":""},"categories":[6,27],"tags":[],"jetpack_featured_media_url":"https:\/\/kolajmagazine.com\/content\/wp-content\/uploads\/05_MARLA-PANKO_United-Z-web.jpg","jetpack_shortlink":"https:\/\/wp.me\/p2QTD7-Rb","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":897,"url":"https:\/\/kolajmagazine.com\/content\/issues\/issue-two-is-this-collage\/","url_meta":{"origin":3297,"position":0},"title":"Issue Two: Is This Collage?","author":"Christopher Byrne","date":"29 October 2012","format":false,"excerpt":"Contents Kolaj editor Benoit Depelteau asks, \"Is this collage?\" Ric Kasini Kadour tells how Venezuelan collage artist Alejandro Otero brought modernity to his country. Kolaj editor Benoit Depelteau investigates collage as process with artist Emmanuel Laflamme. Billy Mavreas' \"Collage Today & Everyday\" explores collage culture. Cory W. 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I recently got into an exchange on Facebook with two brilliant collage artists, Scott Neff and Allan Bealy. Neff\u2026","rel":"","context":"In "Articles"","block_context":{"text":"Articles","link":"https:\/\/kolajmagazine.com\/content\/category\/content\/articles\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Discovery-of-the-Water-Lillies.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Discovery-of-the-Water-Lillies.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Discovery-of-the-Water-Lillies.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Discovery-of-the-Water-Lillies.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":1127,"url":"https:\/\/kolajmagazine.com\/content\/content\/articles\/how-collage-helped-bring-modernity-to-venezuela\/","url_meta":{"origin":3297,"position":2},"title":"How Collage Helped Bring Modernity to Venezuela","author":"Christopher Byrne","date":"29 November 2012","format":"gallery","excerpt":"In Kolaj #2,\u00a0Ric Kasini Kadour tells the story\u00a0of how collage helped a Venezuelan artist living in Paris create some of the most iconic and modern paintings his country had ever seen. It was during [1950-1951] that Otero turned to collage. \u201cI made many studies of flat colour organization using collage\u2026","rel":"","context":"In "Articles"","block_context":{"text":"Articles","link":"https:\/\/kolajmagazine.com\/content\/category\/content\/articles\/"},"img":{"alt_text":"Orthogonal-Collages-by-Alejandro-Otero","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Orthogonal-Collages-by-Alejandro-Otero.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Orthogonal-Collages-by-Alejandro-Otero.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Orthogonal-Collages-by-Alejandro-Otero.jpg?resize=525%2C300 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Orthogonal-Collages-by-Alejandro-Otero.jpg?resize=700%2C400 2x"},"classes":[]},{"id":1866,"url":"https:\/\/kolajmagazine.com\/content\/issues\/kolaj-magazine-year-one-collectors-pack\/","url_meta":{"origin":3297,"position":3},"title":"Kolaj Magazine Year One Collector’s Pack","author":"kasini","date":"23 May 2013","format":false,"excerpt":"In its first year, Kolaj explored collage\u2019s role in the world of contemporary art; asked the question \u201cIs this collage?\u201d; informed readers about collage exhibitions and events; and, most importantly, shined a spotlight on the work of collage artists from around the world. 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