{"id":5368,"date":"2016-10-29T01:13:05","date_gmt":"2016-10-29T05:13:05","guid":{"rendered":"http:\/\/kolajmagazine.com\/content\/?p=5368"},"modified":"2016-10-25T18:35:41","modified_gmt":"2016-10-25T22:35:41","slug":"cut-it-out","status":"publish","type":"post","link":"https:\/\/kolajmagazine.com\/content\/content\/articles\/cut-it-out\/","title":{"rendered":"Cut It Out"},"content":{"rendered":"

\"mister-koppa-c231-seriously\"
\nKolaj #17 Editorial<\/strong><\/p>\n

Cut It Out<\/h2>\n

Can we stop thinking of collage as a \u201cbastard form\u201d? <\/strong><\/p>\n

One of the things that makes collage, as practiced today, uniquely modernist is the fact that a collage always references itself.<\/p>\n

Consider a pre-modernist painting. The goal of a traditional painter is to so well render the image that the act of painting disappears and the viewer is allowed to become immersed a fictional dream. A bad brush stroke, a poorly drawn face, or awkward trees do not serve the painting, they distract the viewer from the experience the artist intends. For most of art history, this was the paradigm. Modernism was the ultimate disruption. As Clement Greenberg put it, \u201cThe essence of Modernism lies, as I see it, in the use of characteristic methods of a discipline to criticize the discipline itself, not in order to subvert it but in order to entrench it more firmly in its area of competence.\u201d To this end, the modernist painter used bad brush strokes, a poorly drawn faces, and awkward trees to remind the viewer that they are looking at a painting, to ask the viewer to contemplate the artifice of the discipline, of the medium, and to delve into the ideas, feelings, and experience behind it.<\/p>\n

\"kolaj-17-pages-4-and-5\"<\/p>\n

By its nature, collage has always done this. One cannot look at a collage without acknowledging that the fragments are artificial and in conversation with each other. This is sort of the point of collage, to reference itself. Or, as Francisco J. Ricardo, writes in Cyberculture and the New Media<\/em>, \u201cWe might consider collage as not-painting, but it is not sculpture, either; its coarse, uneven tatters, cementations of more than immediate expression, announce the commanding plan of bastard form, and thus the cacophony of a staunch anti-formalism. As neither painting nor sculpture, collage could be inaugurated as the first new art medium of 20th century sensibility.\u201d<\/p>\n

And yet, given collage\u2019s epic role in modernism, it perseveres as a \u201cbastard form\u201d. On numerous occasions in the pages of this magazine we have highlighted the lack of curatorial regard, critical writing, and basic attention to the medium. On the website of The Guardian<\/em>, the respectable UK publication recently ran a collection of collage as a way of highlighting Thames & Hudson\u2019s new book, Cut That Out<\/em>. (The 288-page book offers what the publisher calls \u201cThe very best in contemporary collage by 50 of the world\u2019s leading creative studios and graphic designers.\u201d) The Guardian<\/em> titled their piece \u201cCan they cut it? The artists making collage cool again–in pictures\u201d which we found stupid for a number of reasons. It goes without saying that we feel collage is, was, and will always be \u201ccool\u201d and not simply a passing fad that needs to be revived every few years. Cut That Out<\/em> is not an awful book, but it is most useful as decoration for a design firm\u2019s waiting room. It has no critical value and contributes little to understanding the medium. And therein lies the problem when collage crosses the minds of editors and exhibition programmers. \u201cLet\u2019s have a show about collage\u201d is as brilliant a curatorial statement as \u201clet\u2019s show some paintings\u201d and yet, nothing seems to stop a parade of exhibitions titled \u201cCut and Paste\u201d from crossing our desks. (And that is not to dismiss the very valid exercise of exhibiting a group of collage artists. Collage is, in addition to a medium, a movement, a community, and group shows are how we come together.)<\/p>\n

So enjoy this issue of Kolaj Magazine<\/em>. It is the start of our 5th year of publishing the magazine and we are redoubling our efforts to stem the wave of dull-witted discourse about collage. Through the investigation of taxonomy, critical reflection on artists\u2019 work, and articles that explore the influence of collage on other mediums, we hope to be a voice for this \u201cbastard form\u201d until we stop treating it as such.
\n\u2014Ric Kasini Kadour<\/p>\n

This editorial\u00a0appeared in Kolaj<\/em> #17<\/a>. To get your own copy, SUBSCRIBE to Kolaj Magazine<\/em><\/a> or Get a Copy of the Issue<\/a>.<\/p>\n

Image:<\/strong>
\nc231 Seriously?<\/em>
\nby Mister Koppa
\n10″x8″
\n19th century photogravure print of the painting A Good Story<\/em> by Leo Herrmann, commercially printed book and magazine (National Geographic<\/em>) paper, compact disc insert (“The Lamb Lies Down on Broadway”, Genesis), record album (“A Place of Our Own”, Mister Rogers), Quisp cereal box board, and acid-free permanent adhesive
\nAugust 2016<\/p>\n","protected":false},"excerpt":{"rendered":"

Kolaj #17 Editorial Cut It Out Can we stop thinking of collage as a \u201cbastard form\u201d? One of the things that makes collage, as practiced today, uniquely modernist is the fact that a collage always references itself. Consider a pre-modernist…<\/p>\n

Read more →<\/a><\/p>\n","protected":false},"author":6,"featured_media":5370,"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\/mister-koppa-c231-seriously.jpg","jetpack_shortlink":"https:\/\/wp.me\/p2QTD7-1oA","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"jetpack-related-posts":[{"id":5313,"url":"https:\/\/kolajmagazine.com\/content\/issues\/kolaj-17\/","url_meta":{"origin":5368,"position":0},"title":"Kolaj #17","author":"Christopher Byrne","date":"9 October 2016","format":"gallery","excerpt":"Kolaj #17 delivers a look at the wonderful world of contemporary collage: the people who make it and the people who love it. INSIDE THIS ISSUE A collaborative collage by Zach Collins and Ted Tollefson is on the cover. Zach Collins continues his series on collage and collaboration with some\u2026","rel":"","context":"In "Issues"","block_context":{"text":"Issues","link":"https:\/\/kolajmagazine.com\/content\/category\/issues\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/K17-cover.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/K17-cover.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/K17-cover.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":17470,"url":"https:\/\/kolajmagazine.com\/content\/content\/collage-exhibitions\/mod-sampling\/","url_meta":{"origin":5368,"position":1},"title":"Mod Sampling","author":"Christopher Byrne","date":"23 October 2025","format":"gallery","excerpt":"Airline by Michael Eble8\"x6\"; collage and acrylic on paper; 2025. Courtesy of the artist. COLLAGE ON VIEW Michael Eble: Mod Sampling at the Acadiana Center for the Arts in Lafayette, Louisiana, USA11 October-20 December 2025 Michael Eble creates colorful abstract works that merge collage, acrylic, and drawn elements to explore\u2026","rel":"","context":"In "Exhibitions"","block_context":{"text":"Exhibitions","link":"https:\/\/kolajmagazine.com\/content\/category\/content\/collage-exhibitions\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/michael-eble-airline.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/michael-eble-airline.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/michael-eble-airline.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/michael-eble-airline.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":5634,"url":"https:\/\/kolajmagazine.com\/content\/content\/articles\/collage-painting\/","url_meta":{"origin":5368,"position":2},"title":"Collage Painting","author":"Christopher Byrne","date":"27 February 2017","format":"gallery","excerpt":"COLLAGE TAXONOMY Fragments Arranged to Emphasize the Compositional Whole The Collage Taxonomy Project is an ongoing survey of the wider collage community that attempts to define the language we use to talk about collage. Visit the project's website to suggest words or contribute definitions. Some collagists assemble fragments into compositions\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\/benon-lutaaya-model-figure.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/benon-lutaaya-model-figure.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/benon-lutaaya-model-figure.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/benon-lutaaya-model-figure.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":9184,"url":"https:\/\/kolajmagazine.com\/content\/content\/collage-exhibitions\/riffs-and-relations\/","url_meta":{"origin":5368,"position":3},"title":"Riffs and Relations","author":"Christopher Byrne","date":"2 January 2020","format":"gallery","excerpt":"And She was Born by Janet Taylor Pickett30\"x30\"; acrylic on canvas with collage; 2017Courtesy of the artist. COLLAGE ON VIEW Riffs and Relations: African American Artists and the European Modernist Tradition at The Phillips Collection in Washington, D.C., USA29 February-24 May 2020 This exhibition presents works by African American artists\u2026","rel":"","context":"In "Exhibitions"","block_context":{"text":"Exhibitions","link":"https:\/\/kolajmagazine.com\/content\/category\/content\/collage-exhibitions\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/janet-taylor-pickett-and-she-was-born.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/janet-taylor-pickett-and-she-was-born.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/janet-taylor-pickett-and-she-was-born.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/janet-taylor-pickett-and-she-was-born.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":9161,"url":"https:\/\/kolajmagazine.com\/content\/content\/collage-exhibitions\/her-highness\/","url_meta":{"origin":5368,"position":4},"title":"Her Highness","author":"Christopher Byrne","date":"26 December 2019","format":"gallery","excerpt":"Her Highness 8 by Eva Lake11\"x10.75\"; paper collage; 2019Courtesy of the artist. COLLAGE ON VIEW Her Highness at Modernism in San Francisco, California, USA9 January 2019-29 February 2020Artist Reception: 9 January, 5:30-8PM Eva Lake is flipping roles in her recent show which explores the sculpture of India and the expectations\u2026","rel":"","context":"In "Exhibitions"","block_context":{"text":"Exhibitions","link":"https:\/\/kolajmagazine.com\/content\/category\/content\/collage-exhibitions\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/eva-lake-her-highness-8.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/eva-lake-her-highness-8.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/eva-lake-her-highness-8.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/eva-lake-her-highness-8.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":8617,"url":"https:\/\/kolajmagazine.com\/content\/content\/articles\/before-its-an-uncollage\/","url_meta":{"origin":5368,"position":5},"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":"https:\/\/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&ssl=1","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&ssl=1 1x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Talin-Megherian-You-Can-Stop-Carrying-Her-1.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/kolajmagazine.com\/content\/wp-content\/uploads\/Talin-Megherian-You-Can-Stop-Carrying-Her-1.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/posts\/5368"}],"collection":[{"href":"https:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/comments?post=5368"}],"version-history":[{"count":0,"href":"https:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/posts\/5368\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/media\/5370"}],"wp:attachment":[{"href":"https:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/media?parent=5368"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/categories?post=5368"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kolajmagazine.com\/content\/wp-json\/wp\/v2\/tags?post=5368"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}