Strange Glue (Traditional & Avant-garde Collage)

COLLagE at 100

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Strange glue

(Traditional & Avant-garde Collage)

Curated by Todd Bartel Thompson Gallery, The Cambridge School of Weston Published on the occasion of the exhibition Strange Glue (Traditional & Avant-garde Collage) September 7 – November 20, 2012 © Thompson Gallery, The Cambridge School of Weston Design Todd Bartel Printed on demand by Lulu.com Essay © 2012 Todd Bartel Edited by Naomi Mayer Photos © 2012 provided by the artists Exhibition photography © Todd Bartel All rights reserved The Cambridge School of Weston 45 Georgian Road Weston, MA 02493 Cover, end pages and page 13: Todd Bartel, Pablo Picasso, Still Life with Chair Caning, 1912 (Blank Slates—History of Collage Series), 2012, Rives BFK with digitally generated, laser-cut collage (cut at Kennedy Fabrications, New York, NY), mounted on museum board, 22 x 30 inches

Thompson Gallery

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Collage at 100 Fall: Strange Glue (Traditional & Avant-garde Collage) Winter: Strange Glue (Collage & Installation) Spring: Michael Oatman (Another Fine Mess) Collage at 100 is a three-part, yearlong exhibition series that celebrates the centennial of the appearance of collage in painting. In its first 100 years, collage has become ubiquitous within contemporary art and culture and its myriad applications have expanded its original definition to become the most inclusive of artistic processes. Strange Glue (Traditional & Avant-garde Collage), the first show in the series, assembles the work of more than 100 contemporary artists as it traces the transition from traditional to avant-garde approaches to papier collé.

ABOUT THE THOMPSON GALLERY The Thompson Gallery is a teaching gallery at The Cambridge School of Weston dedicated to exploring single themes through three separate exhibitions, offering differing vantages of the selected topic. Named in honor of school trustee John Thompson and family, the Gallery promotes opportunities to experience contemporary art by local, national and international artists and periodically showcases the art of faculty, staff and alumni. The Gallery is located within the Garthwaite Center for Science and Art, The Cambridge School of Weston, 45 Georgian Road Weston, MA 02493. M–F 9–4:30 p.m. and by appointment (school calendar applies). Visit thompsongallery.csw.org to view exhibit art.

ABOUT THE CAMBRIDGE SCHOOL OF WESTON The Cambridge School of Weston, located in a Boston suburb, is a progressive, coeducational, day and boarding school for grades 9 through 12, and post graduate.

Established in 1886, the school is dedicated to fostering individual strengths and deep, meaningful relationships through a wide range of challenging courses and a variety of teaching styles. csw.org

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COLLagE at 100

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Strange glue

(Traditional & Avant-garde Collage)

September 7 - November 20, 2012

Atkinson-Berg • Badenhausen • Baker • Bennion • Bertola • Bisbing • Boughton Calway-Fagen • Caveney • Coalfather Industries • Colacicco • Colby • Coppola • Coyle Cunningham • Deleplanque • Dell • DelliCarpini • Der Marderosian • van Die • Elizabeth English • Fine-Foer • Fleming • Forman • Forte • Gentile • Giannini • Golann • Gorostiaga Gove • Grainger • Gubin • Gusky • Gwiazda • Hackett • Hébert • Hegreberg • Heron Hibbard • Hider • Hines • Jain • Juarez • Johnson • Jolley • Kagemann • Keenan Kellogg• Kendrick • Kim • Koss • Kotkin • Laplante • Lawlor-Schmidt • Lay • Leaver Lindsay • Lobe • Luther • Lydecker • MacDonald • Maddy • Maher • Marks • Massey McCorkle • Metrick • Meyer • Miller • Mogilevsky • Morin • Neuman • Newmark • Nichols Norman • O’Connor • Ogburn • Palurovic • Parra • Peeke • Piehl • Piergrossi • Phillips Pope • Powell • Pranger • Ragus • Ramsay-Morin • Ratliff • Read • Reedy • Revit Robinson • Rombaldi-Seppey • Rudnick • Ryan • Ryskin • Schneck • Schuller • Schutze Shearn • Scott • Seller • Skordal • Sky • Slavick • Steiger • Stern • Stevenson Suchland • Thompson • Touchon • Vergara • Von Ploennies • Waraksa • Weir • Wells Williams • Winslow • Wolff • Word • Yates • Younkle • Zimmer

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Foreword/acknowledgments

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August 30, 2012 I put out a call for collage-based art in July of 2011. Within five months, the gallery received more than 500 applications including ten from other countries, a definite indication of the widespread reaches and passion for the topic. In total, the gallery reviewed and considered 3,332 individual works for inclusion in the show. With my teacher’s schedule, the process of responsibly reviewing the submissions took five months. With numbers like that, it was obvious to me from the moment the call for art closed on December 31, 2011, that this was going to be a big exhibition, one that was unlike anything I had ever attempted before.

I did not look at resumes during the selection process. Represented are well known artists amidst emerging artists and even one alumna of our school. I based my selections on a desire to assemble a body of work that reflects the transitions collage has undergone over the past one hundred years.

In no way could the submitted work tell the whole story, but it is striking how much of the story is represented. The Thompson Gallery has a staff of one to accomplish all gallery tasks. If it were not for my passion for the subject, this show would simply not have come to pass in its present state.

It was important to me to reflect the interest, the cultural pulse and the high quality of the materials I received. I strived to do justice to the deluge of good work, but there was a definite group of artists I just could not fit into the show and the deciding factor was literally an arbitrary cutoff line. Without the space constraints, I would have gladly included their work. For this reason, the exhibition continues virtually at thompsongallery.blog.com where each

of those artists’ works may also be viewed.

I believe the ratio of available space to the number of exhibiting artists along with those I could not squeeze in is a strong indication of the impact of collage on modern art, which is obviously alive and well in the postmodern era. It should be abundantly clear to anyone walking in the door of the gallery, that collage is the cultural voice of today. As a collage artist myself, as a novice historian of collage these past twenty-five years, I was driven by a deep personal ambition to bring justice to this important topic.

Although collage is given ample credit for changing and defining modern art, collage, like drawing, rarely gets the acute focus of a major exhibition. I wanted to prove beyond a shadow of a doubt the power and vitality of collage at this moment in time by garnering that kind of attention.

This is the first time in the gallery’s five-year history that it is opening with a full catalog of one of its exhibitions. I am profoundly grateful for the contributions of my editor and friend, Naomi Mayer, with whom I have worked for nearly a decade. Her dedication, sharp eye and intellect, and her expertise as a teacher, have enhanced and graced my own work and raised it to a level of professionalism I never thought possible.

Everything about this show is over the top and without a doubt that says something about the subject at hand. Collage has been credited with having the single greatest impact on modern art. In my estimation, that is an understatement.

Todd Bartel Gallery Director, Curator The Thompson Gallery 11

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Strange glue (Traditional & Avant-garde Collage)

A new machine for seeing 1 Florian Rodari The revolution of papier collé 2 Dianne Waldman It is almost a cliché now, at the turn of the twenty-first century, to remark that the invention of collage has had a greater and more profound effect on twentieth-century art than any other development. 3 Elisabeth Hodermarsky Nostalgia anyone? 4 Joseph Cornell

Collage at 100, a yearlong exhibition series in three parts, honors the centennial of the invention of collage by the Cubist pioneers, Pablo Picasso and Georges Braque.

Strange Glue (Traditional & Avant-garde Collage), the first exhibition in the series, assembles the work of more than one hundred contemporary artists who employ myriad approaches to collage. The works on display were chosen to exemplify the richness, power and vitality of a form of human expression that is growing at an increasingly rapid rate. One aim of the show is to vicariously tell the story of the first one hundred years of collage-making through the work on display. In a phrase, it’s the story of the decline of naturalism and the rise of fractured representation.

To better appreciate the vast range of approaches to collage, the works on display are divided into art historical sections. Each area may be identified by visually locating a given salon-style grouping or via the written categories provided in the checklist pamphlets and the accompanying catalog.

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Additionally, the checklist and catalog also provide the names of historically celebrated collage practitioners whose past work seems to be recalled by virtue of the similarity to contemporary artists in Strange Glue.

Another aim of the show is to provide examples of art that raise questions about the definition or the limitations of the word collage. Visitors are encouraged to look for examples of collage that are evocative of historic antecedents as well as find examples that seem to signal the need for the definition of the word to expand. To accommodate the unusually large amount of work, the show is split between two sites on campus, the Thompson Gallery and the Red Wall outside the Robin Wood Memorial Theatre—directions to and from both spaces are provided in the checklist booklets. In the spirit of a teaching gallery, the Red Wall grouping was designed without any historical sectioning in written form in order to encourage the application of thought from one site to the next.

Though far from being exhaustive in its efforts to tell the history of contemporary collage, Strange Glue aims to not only expose the evolution of the advent of collage into everyday art making vernacular, but to also demonstrate that the act of gluing is no longer a necessity for contemporary collage practitioners. Clearly, that is an odd set of circumstances. How can something that started out being dependent upon glue not need it anymore? As a term, the French word collage—which literally means to stick or glue—expands when you consider the various ways contemporary artists have accumulated, grouped, assembled, edited and affixed materials—of all kinds—as well as fused technologies during the last hundred years. Intellectual, conceptual, emotional, associative, and pattern-based glues, to say nothing of digital glue or the simple act of

juxtaposition, are but just a few examples of the different approaches displayed in Strange Glue. Some works, in particular, are a radical shift from Picasso’s and Braque’s original experimentations with pasted paper.

As several pieces in Strange Glue emphasize, physical adhesives are only rudimentary possibilities in collage’s ever expanding arsenal.

Today, artists explore issues of identity, place, culture, race, memory and conflicts of every sort, a nearly endless list. Obviously, there have been many developments and milestones in collage over the last century.

The unexpected layering and multifaceted nature of the collages on display demonstrate that the impetus for combination is much broader, much deeper and much more significant than pasting paper ever could be had it not advanced beyond the first experiments to edit the depiction of space and form. Given that there is no manual and no treatise on how to construct a collage, what did it take for contemporary artists to arrive at this point—cutting and gluing so strangely—as compared to artists just fifty years ago? That question is at the heart of Collage at 100.

The Quickening of Collage Widely apprehended and adapted, modern collage began by taking apart the traditional action of observing and depicting nature by showing only bits of it at a time.

Often, several vantages were combined simultaneously, which forced a definite amount of visual editing. This intentional fracturing was what gave Cubism its look; a look that compelled generations of artists to expand and take apart everything that was once understood about making art.

Cubism gave rise to Futurism. World War I ushered in Dada and then Surrealism. World War II saw yet another major shift with

action painting and The New York School, until Pop Art replaced gesture and intuitive expression with contemporary imagery from newspapers, magazines and television.

The social upheaval surrounding issues of racism, sexism and elitism during the 1960s spawned a more politically pointed and conceptually minded art after that. Collage seemed to become a vehicle to contain all the things that naturalism could barely communicate within its traditional modes of expression. Thus, each of these historical areas left a wake of shifting attitudes to form new derivations of an expanding collage state of mind. That ebb and flow ensued immediately after collage’s first appearance, and artists quickly evolved collage by increasingly departing from a dependence on depicting semblances of the naturalistic world in favor of showing the overlay, superimposition, juxtaposition and fractured collision of dreams, feelings, ideas, and politically-charged content. For every age that abandoned a particular focus, another age was sure to reclaim it. Throughout the past century, collage demonstrated that it is not constrained by borders, categories or the space-time continuum. Today, the once radical activity of editing nature and fracturing it has evolved to include anything and everything. In fact, the freedom wrought by ceaseless combination has become normalized and thoroughly embedded in contemporary art and culture; just compare the editing of today’s filmography with that of forty years ago and one begins to get a sense of how adept our culture has become at dealing with the barrage of information we now contend with on a daily basis.

However, that acknowledged, it is important to keep in mind that before the movie industry could construct whole films using computer generated imagery (cgi) in the 21st century, before “cut and paste” was a virtual 17

activity and Photoshop® became a household name in the 1990s, before David Hockney reinvented using the camera to form mosaic depictions of the world around him, or David Salle assembled different styles of painting in his polyptych paintings of the 1980s, before Elizabeth Murray redefined the shaped canvas in her early examples of the late 1970s or before Judy Chicago’s triangular shaped installation The Dinner Party liberated women from the pitfalls of historical omission, before the first shaped canvases of Frank Stella in the late 1960s, before Andy Warhol appropriated pop culture to make his screen-print paintings and Richard Pettibone appropriated Andy Warhol’s paintings to make his paintings in the mid-1960s, before Robert Rauschenberg expanded the painter’s palette to include every tangible object in the world in the 1950s, before de Kooning cut up drawings and paintings to rearrange Abstract Expressionist compositions in the late 1940s, before Joseph Cornell cut up extant films to make visually poetic silent movies and constructed boxes using flotsam and jetsam in the 1930s, before Max Ernst painted on and cut up photographs to make Surreal collages in the 1920s, before Kurt Schwitter’s invention of Merz—combining fragments—in 1918, before Marcel Duchamp invented the first Readymade in 1914, or for that matter, the first Assisted Readymade in 1913, before Georges Braque invented papier collé in the summer of 1912 and before Pablo Picasso pasted a scrap of wallpaper with an industrially printed design of chair caning onto his painting Still Life with Chair Caning in May of 1912, collage was already widespread and touched every aspect of human occupation.

We take collage for granted. Few know of the lineage of collage’s important milestones—the above list being a meager encapsulation—and it has affected us all.

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Just try to imagine the amount of times, each and every day, the computer functions “command c,” “command x” and “command v” are used. We collage all day long, 24/7; yet most of us do not even realize the irony of our virtual simulation of a once exclusively tactile process.

Collage was widespread decades before Picasso and Braque’s cubist techniques as evidenced in Victorian photo collages and scrapbooks. Moreover, the roots of collage can be traced to the invention of decals, wallpaper, inlaid wood, mosaics, quilts, gilding, and even the first prosthetic, among so many other milestones. Among the oldest instances was the first time humans combined rock to stick with sinew to form a tool, and that first object, constructed in that way, was essentially the first assemblage.

And so, the impetus to combine, which we widely refer to as collage, be it with flat papers or physical objects, has been with us for as long as we have been organizing ourselves into groups.

Why then, is 1912 so significant?

When Picasso and Braque pioneered the first use of collage in the field of fine art— specifically, gluing things they did not make to their paintings—the act of painting was irrevocably expanded. Although some historians credit Edgar Degas’ The Little Fourteen-Year-Old Dancer as the first modern assemblage—because of the artist’s inclusion of the burlap skirt and cloth ribbon in the original wax sculpture—Still Life with Chair Caning is essentially given due credit as the first collage and first assemblage— collage, because of the pasted oil cloth, and assemblage, because of the continuous rope that acts as a frame. Degas’ assemblage did not inspire subsequent artists to alter their approach to making art; Picasso’s and

Braque’s first collages and assemblages did.

Within the first year of Picasso’s and Braque’s early experiments with pasted paper, artists in Paris and those who were visiting witnessed the drastic changes in drawing, painting and sculpture, which despite being naturalistic and referential, became virtually unrecognizable compared to each respective medium’s traditions. Furthermore, one hundred years ago, without the use of the Internet, word of collage had spread to several European countries and Russia before the close of the second year after the appearance of paper on painted canvas.

That one act gave permission to abandon the reliance on paint in an ever quickly advancing society of change. Art movements such as futurism and Dada adopted collage as either one of or as the main vehicle of artistic expression. Collage was the perfect process to respond to the flurry of developments we are still experiencing at a dizzying pace today. And since then, the culture of the art world has dramatically changed, too. For one thing, the cult of male-dominant artists that is given credit for most of the major shifts in collage, has rightfully become less malecentric. In fact, just under two-thirds of the art in Strange Glue is made by contemporary female artists, which is a strong contrast to even just a handful of decades ago.

Collé Age What do we call a work made by pressing Silly Putty® into more than one newspaper page to form a composite image? How are we to consider art that is digitally assembled and altered? How do we approach art that copies another work of art? How are we to categorize a work made by cutting away paper but not gluing anything else to it?

What do we make of a work that tears up other works only to photograph it and put the photo of the arrangement on display?

Is recycling art? How can we define a work that places fractured imagery over a repurposed object? Is gluing sand collage?

Is a digital photograph of cut paper on a couch a collage? And what do we do when what artists are coupling is intellectual and not physical material? How do we contend with sur-referential and non-resembling conglomerate imagery? One hundred years ago artists put things that that did not originate in their studios, industrially fabricated things, onto the surfaces of their art. But today, artists are making paintings, cutting them up, scanning the cuttings, then rearranging the pieces digitally using scanning and imaging software to print what can easily be duplicated in our age of mechanical reproduction, and that’s the art object. All these examples, and so many more, abound in Strange Glue, but they all have one thing in common. Without Picasso’s and Braque’s invention, nothing on display here would have been possible to make today.

Clearly, postmodern collage is not a single story. In fact, the story of contemporary collage can never fully be told; while some parts come to light, others lay in shadow.

Too much has occurred and too much is happening right now to ever fully give credit where credit is due. But, of course, the history of art historical divisions continues to be parsed out with all its “isms” as historians and thinkers dissect the past.

With this in mind, Strange Glue endeavors to celebrate this important point in time through visual inundation; there are more than 130 different stories provided in Strange Glue—the number of artists included in the show. Strange Glue stacks so much work together in so small a space, visitors cannot avoid the overwhelming sense of collage’s omnipresence. On the one hand, the rationale for organization serves to 19

mediate the deluge of artistic application.

On the other hand, organization per se contradicts the fact that collage is often counter-category, because it is quite literally about the fusion of two or more things.

Thus, it is important to acknowledge that the work on display, though grouped into specific sections, is more often than not just as able to straddle more than one group, and we are encouraged to imagine particular works in other designated and undesignated categories.

Despite problems of categorization, there is one factor that unifies every collage ever made. Collage is always about drawing.

Moreover, collage has redefined the very act of what drawing can be. The fact that collages are composed by pulling disparate parts together—often including parts made by others into a common whole—heightens its interest, its conceptual power. Regardless of the possibility of whether or not an artist rendered one or many components by hand, an act of drawing is initiated the moment a thing is placed. To draw means to pull the eye and mind just as much as it means to drag a pencil, brush or crayon across a surface.

Collage challenges pictorial conventions, while also usurping them. Another issue that arises in Strange Glue is how collage often confronts the relevance of the “cult of originality.” There are works by artists that hauntingly remind us of past artists, or past masterpieces of collage. Such artistic harkening is not just another art for art’s sake production. Strategies of appropriation are not signs of weakness, but proof of the vitality of the mind that couples the old with the new. What does it suggest for a contemporary image of war to be coupled with traditional images, angels depicted with multicultural features? Dredging up a 20

past way of working, referencing another artist or a specific work, is like a footnote inside an original point of view. It brings some lost or forgotten idea or image back into the present for reconsideration under new circumstances. Much like when jazz musicians play a standard with a new twist and the audience is on the edge of their seats to witness a subtle homage mixed with unexpected twists, whenever collage artists paste something old or something they did not make into their work, that action makes it altogether something different, something special in that precise moment, never again to be repeated. To call that activity merely copying, denoting a lack of originality, is a complete misnomer.

Indeed, collage makes for a complicated, but rewarding visual-intellectual experience.

That is the power of collage: to haunt, to prompt, to reconsider, always anew. With such complexity, the artists of Strange Glue contribute to the ongoing understanding of the human condition, while not relying on the conventions of old. The variety of work suggests that the spirit of collage is always about adding the new to the established and the opposite is also true. When you consider the power of collage and its limitlessness, naturalism is limited by comparison. After all, even the best-made image using linear perspective loses its illusory power when viewed from any angle other than the angle the scene was originally observed. In this way, perspective is confined to a single point of view, one story.

The Italian Renaissance was called a rebirth because of a rejuvenation of pictorial conventions—suppressed out of respect for religious beliefs for more than a millennia— coupled with the systematized development of a naturalistic point of view and the development of linear perspective. Although today, we can still sense and observe the

reach and influence of Italy’s Master artists, the Renaissance ultimately gave way to the inventions of a collaged reality. Look around you, and take stock of everything made since the Industrial Revolution. It is all collage-based. The principles of Renaissance perspective gave way to the rise of a far more expansive and inclusive visual order, albeit, a fractured one. Collage has spread as widely and with as much influence as western perspective did, if not more so. As many works in Strange Glue demonstrate, collage can easily adopt any language, including the language of perspective, anytime it is necessary for a given work.

Moreover, as Strange Glue artists also point out, collage is the only process that can incorporate any and all other processes without losing its ability to be recognized.

No other form of self-expression can make that claim. With this explosion of creative output, Collage at 100 seems to suggest, culturally speaking, we are not experiencing a rebirth per se, because collage started from scratch to create something altogether new. Furthermore, collage cannot be likened to rebirth; nothing regarding collage had originally been suppressed in order to be reborn. Collage is more like a phoenix. Out of the ashes of western perspective, came a new visual inclusivity.

Collage, as such, is the new realism—more inclusive then the old system of depiction ever could claim to be. In a very real sense, the collective work in Strange Glue asserts that collage has allowed us to re-imagine ourselves, and our relationship to absolutely everything.

Todd Bartel Gallery Director, Curator The Thompson Gallery

Endnotes 1. Florian Rodari, Collage: Pasted, Cut and Torn Papers, Skira and Rizzoli, New York, NY, 1988, p. 31.

2. Dianne Waldman, Collage, Assemblage, and the Found Object, Harry N. Abrams, Inc. New York, NY, 1992, p. 8.

3. Elisabeth Hodermarsky, The Synthetic Century—Collage from Cubism to Postmodernism, Yale University Art Gallery, Herlin Press , Inc., West Haven, CT, 2002, p. 6.

4. Kirsten Hoving, A Case for Joe, catalog essay, (quoting from note paper scrap, "scrawled by Joseph Cornell," Cornell Archives, Smithsonian American Art Museum), Hey Joe—An Homage to Joseph Cornell, Exhibition catalog, curated and published by W. David Powell, Lulu.com, 2012, p. 6.

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Cubism/Futurism/Readymade

[Picasso/Braque, Duchamp]

LaThoriel Badenhausen P & B Beige, 2007, 2012 tattoos on used paint cans 5.25 x 4.25 x 4.25 inches each 24

Dana Gentile Mountain Climbers, 2006 paper collage 8.5 x 11 inches 25

Deborah Stevenson Of Two Minds, 2010 magazine cover, art magazine photo, mounted to float on matboard 11 x 8 inches 26

Michi Colacicco untitled, 2011 horsehair, oil paint, book pages, mounted on paper 12.25 x 10.5 inches 27

Cecil Touchon Well-Heeled Nude Ascending a Staircase (Fusion Series #3125), 2011 vintage magazine papers on watercolor paper 18 x 12 inches 28

Paul Forte Artist’s Breath, 2008 sealed bottle on brass stand 13 x 4.5 x 4.5 inches 29

construction/design/dada (merz)

[schwitters, malevich]

Jeanette O’Connor Collage XXXV, 2010 cardboard, book cloth, found papers, fabric 5 X 4 inches 32

Margaret Suchland Postmark n.6, 2009 miscellaneous ephemera, vintage postcards, black paper, book pages on vintage postcard 7 x 3.5 inches 33

Carol Gove KRA1109, 2011 collage on paper 6 x 6 inches 34

Christina Massey An Art Community, Washington, DC, 2010 collagraph prints, acrylic, oil, watercolor on canvas and paper 22 x 30 inches 35

Vivian Hyelim Kim Multifaceted #2, 2009 handcut papers, acrylic medium on canvas 12 x 12 inches 36

Elaine Norman City Square – Columbus Circle, 2010 photo collage, gelatin silver prints 8 x 8 inches 37

Margi Weir In the Wind, 2010 acrylic, vinyl, resin on panel 24 x 24 x 1.5 inches 38

Brian Jolley Quadrants, 2009 found cardboard, matchboxes, newspaper, glue, thread 24 x 20 inches 39

Viviane Rombaldi Seppey Valley (Belonging Series), 2011 New York phonebook clippings on paper 38 x 38 inches 40

Caroline Maher Spread, 2011 collage on handmade paper 24 x 32 inches 41

Donise English Layered Construct 1, 2009 collage, rice papers, gouache, ink transfer on paper 13 x 10 inches 42

Virginia Ines Vergara Shard, 2012 archival c-print, photographed torn and arranged lithographs from a folio distributed by the Louvre, c. 1939 20 x 16 inches 43

Chad Colby Polygons, 2012 collage, colored pencil, charcoal, watercolor paint on paper 15 x 11 inches 44

Nan Fleming Wallflower II, 2011 found metal, screening, paint, wood 17 x 17 x 9.5 inches 45

Mark Younkle untitled, 2011 computer paper, aged material, graphite, on perforated computer printout paper 11 x 9 inches 46

Georgina Keenan Playboy Mandala II, 2009 cut paper on acid-free cardstock 20 x 20 inches 47

Robert S. Neuman Pedazo del Mundo, 1961-64 graphite, ink, colored pencil, pastel, watercolor, bubble-gum wrappers, tape, cardboard packaging, “G� sticker on handmade paper 39 x 49 inches 48

Marcy Pope Streets, 2009 India ink, cloth, acrylic medium on brown craft paper 36 x 29 inches 49

Lauren Kotkin Equal, 2011 collage on paper 8 x 10 inches 50

Lena Wolff Constellation, 2010 collage with powdered graphite, watercolor, pinpricks, hole-punched and handcut painted papers 30 x 40 inches 51

Dada/surrealism/fluxus

[hoch, ernst, magritte, maciunas]

Marcus Ratliff Monument, 2011 laser prints of engravings, color lithograph, wallpaper, mounted on illustration board 9.5 x 7.5 inches 54

W. David Powell Canyon of the Heart, 2011 cut papers from A New Astronomy for Beginners (David Todd, 1897) and Man in Structure and Function (Fritz Kahn, 1943), acrylic, gouache on birch plywood 9.625 x 7.75 inches 55

Daniel Gorostiaga Kicked Out, 2011 photocopies on paper 10.25 x 7.5 inches 56

Tara Giannini Dirge of Decay, 2010 butterfly, latex, spray paint, paper, dirt, sticks, acrylic, oil paint on panel, artist-made frame 14 x 14 x 1 inches 57

Colleen Cunningham Diamond Baller, 2011 paper collage 15.5 x 11.5 inches 58

Mike Calway-Fagen In Full Sight #6, 2011 inkjet print from scanned and enlarged collage 34 x 25 inches 59

Michael Waraksa Sifted in the Annexed Scheme, 2011 digital collage, inkjet print 10.75 x 6.5 inches 60

Edward Coppola In the Early Days, 2011 collage, gouache on paper 11 x 14 inches 61

Mary Lydecker Worcester, MA/Jostedal Glacier, Norway, 2011 found postcards, acid-free adhesive tape 4.5 x 5.5 inches 62

Nana Deleplanque Collages (9-6) 007, 1989 collage, mixed media on paper 6 x 9.5 inches 63

Mikhail Gubin Rendezvous, 2010 wood, ink on acetate, in constructed wood box with light 9 x 11 x 4 inches 64

Jason Hackett Eclipse, 2010 hand-formed clay, found manufactured ceramics 13 x 10 x 5 inches 65

Fran Forman Woman on a Journey, 2011 photographic montage, archival pigment print 15 x 17 inches 66

China Marks A Book of Horses, 2008 fabric, lace, thread, felt, fusible adhesive, latex paint 19 x 15 x 2.75 inches (closed), 19 x 30 inches (open) 67

Lindsay Stern Sashay, 2008 collage, graphite on paper 15 x 22 inches 68

Ruby Rudnick Clusterfunk, 2011 ink drawings collaged on paper 19 x 25 inches 69

Erika Lawlor Schmidt Intoxicated by Birds, 2010 collage on Rives BFK 44 x 30 inches 70

Barbara F. Kendrick Dangling Proposition, 2011 collage, ink on paper 21 x 21 inches 71

Cecil Touchon Fluxcase #3, 2011 plastic case with approximately 50 small boxes commemorating 50 years of Fluxus with various found or fabricated materials, contributed by various Fluxus artists and staff members from the Museum of Contemporary Art, Chicago 8 x 10 x 2 inches 72

Cecil Touchon Fluxcase #3, 2011 contents 73

poetic transformation/allusion

[cornell, boghosian, jess, otnes]

Robert Leaver Assembly 2010-11, 2010 wood, ivory, cast iron 11.5 x 11 x 5 inches 76

Robin Miller The Great Eastern, 2011 Double Corner, 2011 The Blind Woodsman, 2011 Muzzle of Bees, 2011 ink, acrylic, enamel, shellac collage on paper, mounted on glass 4 x 3.25 inches each [clockwise from top left] 77

Janine Nichols Braintree, 2006 layered images, transfers on museum board 10 x 8 inches 78

Wayne Bertola untitled, 2011 vintage papers, salvaged wallpaper scraps, printed matter with applied staining on paper 11 x 9 inches 79

Paul Forte Vegetal Man, 2005 collage on medical illustration, enamel on board 47.75 x 31.5 inches 80

Paul Forte Vegetal Man, 2005 detail 81

Diane DelliCarpini Sailing Moons and Fish, 2008 borrowed images, acrylic paint 18 x 24 inches 82

Jean Winslow Secrets of Castelbuono, 2011 oil, found paper on panel 32.5 x 23.5 inches 83

Tom Ogburn Julia’s Fond Farewell, 2011 digital collage, inkjet print on archival paper 10 x 7.75 inches 84

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Abstract expressionism/decollage

[de kooning, rotella, ryan]

Masha Ryskin Crunch, 2010 intaglio on silk tissue, graphite, acrylic, collage on clayboard 8 x 8 inches 88

Claudine Metrick Drift, 2011 acrylic, collage, charcoal, mounted on luan 24 x 24 inches 89

Susan Reedy Hindustan, 2007 vintage sheet music, acrylic, graphite on Arches 15 x 7.5 inches 90

Marnie Jain Exchange, 2011 magazine-paper collage 13.5 x 10 inches 91

Benjamin Meyer Untitled 01, 2011 acrylic, gouache, cut-paper collage on paper 5 x 6.5 inches 92

Betsy van Die Wings Fire, 2010 acrylic, pastel, charcoal, found objects on panel 12 x 16 x 1.5 inches 93

Ben Pranger Accidental Adventure (Collage #3), 2011 acrylic, gouache on paper 17 x 16 inches 94

Cordula Kagemann Oblivion, 2011 collected paper, magazine photos, inkjet print on transparent paper, thread on watercolor paper 8 x 6 inches 95

Jeffrey Robinson Regeneration, 2011 carpet padding, cardboard, paper, oil, acrylic on panel 36 x 36 x 2 inches 96

Susan Newmark Fantasy Land at Dyker Heights, 2011 collage, acrylic paint on paper 38 x 25 inches 97

Mike Piergrossi The Mobjack Bay Lower Buffet, 2009 acrylic, marker, string, collage on canvas 16 x 12 inches 98

Deborah Read A Fine Day, 2010 ink on Sumi paper, over oil on canvas 40 x 30 inches 99

Zoran Palurović Walker, 1997 watercolor, collage on paper, mounted on cardboard 11 x 8.5 inches 100

101

Social realism/figurative/narrative/naturalism

[bearden]

Lance Johnson Ode to Hip Hop, 2010 paper, acrylic on paper 13 x 10 inches 104

Tony Wells Neighborhood in Sunlight, 2009 magazine cutouts on cardboard 20 x 27 inches 105

Anna Fine Foer Tower of Babble, 2011 collage, watercolor on Arches 24 x 20 inches 106

Anna Mogilevsky Nature’s Highway, 2011 acrylic, ink, graphite, felt, gouache, paper 17 x 80.5 inches 107

Renna Mae Zimmer Bathing Beauty, 2009 paper, glue on paper 17 x 14 inches 108

Megan Coyle Morning Coffee, 2010 magazine cutouts on paper, mounted on matboard 24 x 18 inches 109

Michael Ryan untitled, 2011 pencil, gesso, acrylic, charcoal, ink, pva glue on paper, vellum 17 x 23 inches 110

EsmĂŠ Thompson Incontriamo, 2008 collage on paper 24 x 14 inches 111

Ann Miller Spore Vine, 2010 collage, painted paper on paper 20 x 13 inches 112

Mery Lynn McCorkle Dinoflagellate Glenodinium Foliaceum, 2011 glitter, acrylic on papers, mounted on board 16 x 12 inches 113

Mariannic Parra Light in Prisms XI, 2011 Plexiglas, volcanic sand 19.5 x 19.5 inches 114

115

Pop art/appropriation

[hamilton, johns, rauschengerg, rosenquist, polke, salle]

Nadine Boughton Evening News, 2009 digital collage, archival inkjet print 11 x 18 inches 118

C. Matthew Luther Oil-Fouled Marsh, 2011 inkjet print, oil-based monotype, gouache, collage on Arches 24 x 38 inches 119

Kathryn Johnson Gusher, 2011 silver leaf, graphite, collage, vinyl, paint transfer on paper 40 x 26 inches 120

Keith Maddy Leisure Wheel, 2011 vintage textile, acrylic, resin, thread, vintage paint-by-number cups, vintage coat button on wood 7.75 x 7.75 x 1.25 inches 121

Merrill Steiger Collision, 2009 collage on paper 16 x 20 inches 122

Merrill Steiger Collision, 2009 acrylic on canvas 16 x 20 inches 123

Dianne Baker Centric, 2009 wood, sandpaper, metal 9 x 7 x 6 inches 124

Erik Von Ploennies No More Sunshine, 2011 acrylic, graphite, charcoal, oil pastel, newspaper collage on canvas 24 x 20 inches 125

Cory W. Peeke Temple, 2011 found materials on antique photograph 5.75 x 3.5 inches 126

David Chapman Lindsay Allegory of Venice, 2007 oil paint on canvas on wood 32 x 19 x 19 inches 127

Mike Bennion She Shall Have Music, 2012 porcelain, metal, wood 19.685 x 14.75 x 7.75 inches 128

Bill Gusky Synchrovision Showcase of Luxuries, 2010 acrylic on canvas 72 x 52 inches 129

Robert Lobe Pink Sneaker (Found Collage), 2010 archival pigment print 12 x 16 inches 130

Karlyn Atkinson Berg Butterflies and Hawks, 2011 paper collage, pencil rubbing, gouache, pastel on paper 6.5 x 4.5 inches 131

Elizabeth Kellogg It Was Kind of You To Come, 2008 collage and image transfer, ink, paint, charcoal, dirt on Masonite 20 x 16 inches 132

Tom HĂŠbert Triple Tumble (Trashing Skies Series), 2012 paper collage on panel, inlaid to linoleum tile 28 x 20 inches 133

Keith Maddy One Snip at a Time, 2011 vintage papers, child’s suitcase on matboard 9 x 7 inches 134

Nancy Baker Take Out, 2011 collage, glitter, matte medium, acrylic, archival digital inkjet prints on board 16 x 20 inches 135

identity politics

[hammons, lovell, gillespie]

Kendall Schuller Weapons, 2011 magazine cutouts on Bristol board 14 x 11 inches 138

Juan Juarez Suspension (Plywood OOH-RAH) 4, 2011 flatbed scanner photograph on aluminum panel 32 x 24 inches 139

Jaye R. Phillip ReConstruction, 2011 pigment print 9 x 12.5 inches 140

Larry Caveney Jam Master Johnny Finally Gets His Check, 2011 rubber stamp and ink, magazine clippings, reproduction of Jam Master Johnny, some areas sanded with electric sander 13 x 15 inches 141

David Grainger Glenn Beck in Ice, 2011 watercolor, Bristol paper, gaffer tape, mounted on foamcore 24 x 19 inches 142

Beverly Sky Flowering of The Buddha Mind: Transcendence Over Life and Death, 2010 fabric collage on canvas 60 x 48 inches 143

Elizabeth Bisbing In a Tangle, 2011 gouache, gold foil on paper 12.5 x 10.5 inches 144

Peggy Schutze Shearn Working Class Heroes, 2011 acrylic, collage on paper, mounted on wood 22 x 30 inches 145

Adrienne Der Marderosian Ballad of Reason, No. 1 & 2, 2010 diptych collage, pencil on paper 10 x 8 x 1 inches each 146

Stacey-Robin H. Johnson Don’t Call Me ‘Baby’, 2010 torn paper, transfer, acrylic paint on paper 18 x 14 inches 147

Wendy Seller Irish Gal, 2011 digital collage, pigment print 20 x 18 inches 148

Aspen Golann‘ 05 Self Portrait with Aunt Helen and Bird, 2010 photograph taken with large format film camera 14 x 11 inches 149

Louise Laplante Eyes on Me, 2011 book pages, photograph, color pencil, Xerox images, encaustic on panel 8.5 x 11 inches 150

Lynn Skordal The Bridegroom, 2011 inkjet print, collage on paper 10 x 8 inches 151

Jane Dell It’s Different Now, 2011 watercolor inks, graphite, photo collage on Mylar vellum 23.5 x 18 inches 152

Jennifer Hines Glands, 2011 collage, embroidery, watercolor on handmade paper 19 x 13 inches 153

Kari Scott You Are What You Eat: Cookies, 2009 Candy, 2009 Cocoa, 2009 Cake, 2009 Sugar, 2009 cookie crumbs, Neccotm wafers, cocoa powder, sugar, cake mix on birch plywood 4.25 x 2.5 inches each [Clockwise from top left] 154

155

Collage at 100

[strange gluers]

Kat Schneck Washington Post, 2010 newspaper ink transferred onto silly putty in a glass jar 8.75 x 4.5 x 4.5 inches 158

Molly Heron Tottering, 2011 repurposed latex, recycled petri dishes 7.5 x 4.5 x 4.5 inches 159

Justyn Hegreberg Green Cracked Surface with Bisected Frame, 2011 acrylic, plywood, found frame 10.5 x 8 x 1.5 inches 160

Erin Elizabeth Nothin’ But a Number, 2011 recycled mail on panel 5.5 x 5.5 inches 161

James Scott untitled, 2012 acrylic, ink, graphite on laser-cut watercolor paper, mounted with insect pins 15.375 x 23.875 inches 162

Polly Yates Untitled (Spill), 2011 screenprint collage on paper 13.5 x 12 inches 163

Coalfather Industries (Craig Newsom and Kara Jansson) Lamentation (Version B), 2011 film still, digital video, projected, looped dvd 3:12 minutes 164

Jennifer Revit Trilogy, 2009 film still, digital video, projected, looped dvd 6:32 minutes 165

Edward Ramsay-Morin Away We Go, 2009 film stills, digital animation, projected, looped dvd 3:11 minutes 166

Henry Gwiazda Hanging‌‌Words, 2004 film still, digital animation, projected, looped dvd 6:35 minutes 167

Amy Ragus Windmill - Auvillar, France, 2012 digital collage, archival inkjet print 27 X 18 inches 168

Kelly Hider Whirling Dervish, 2011 inkjet print of scanned collage, glued rhinestones 31 x 30 inches 169

Rachel Hibbard March, On the Homefront, 2011 inkjet print 19 x 22 inches 170

Marianna Williams Hotdog!, 2010 digital collage, inkjet print on paper 6.375 x 10 inches 171

Andrew Ellis Johnson Formal Graffiti: p.28 Djim (Metal), 2011 archival color inkjet print 30 x 22.5 inches 172

Susanne Slavick Tending the Embers, 2009 gouache on archival digital print HahnemĂźhle 6.33 x 10 inches 173

Kate MacDonald Chernobyl Spring 1986: The Lovers Billboard #1, 2011 digital collage, inkjet print 16 x 20 inches 174

Marianna Williams Stop Right There, Pilgrim., 2010 digital collage, inkjet print on paper 6.375 x 10 inches 175

Angela Piehl Crest/Fallen, 2009 digital collage from scanned watercolor images, pigment print on archival paper 22 x 17 inches 176

Robert Koss Blond Extension, 2010 digital collage, inkjet print 15 x 20 inches 177

Michelle Word Droseraceae, 2010 collage, mixed media on birch panel box 48 x 48 x 4 inches 178

Pat Lay BA-E-VO-A #6, 2010 Epson archival ink on Epson archival paper, mounted on archival museum board, MDF with wood backing 74 x 34 x 1.75 inches 179

Strange Glue (Traditional & Avant-garde collage)

Exhibition Installation

gallery exterior

182

view from gallery entrance

183

east wall, Collage at 100/Strange Gluers

184

north wall, Identity Politics

185

west wall partition, Pop Art/Appropriation

186

room center, pedestals and vitrine

187

east wall partition, Social Realism/Figurative/Narrative/Naturalism (right) Abstract Expressionism/Decollage (left)

188

north wall, Poetic Transformation/Allusion (left) Abstract Expressionism/Decollage (right)

189

west wall, Dada/Surrealism/Fluxus (right) Construction/Design/Dada [Merz], (left)

190

south wall, Cubism/Futurism/Readymade (left) Construction/Design/Dada [Merz], (right)

191

red wall

192

red wall

193

red wall detail

194

red wall detail

195

Artists’ Bios

Karlyn Atkinson Berg, Bovey, MN (b. 1945) karlynatkinsonberg.com LaThoriel Badenhausen, New York, NY (b. 1941) lathoriel.com Dianne Baker, Buffalo, NY (b. 1944) dbakerartist.com Nancy Baker, Brooklyn, NY (b. 1951) nancysbaker.com Mike Bennion, Philadelphia, PA (b. 1963) mylittlelovebox.com Wayne Bertola, Chicago, IL (b. 1950) wbertola.com Elizabeth Bisbing, New York, NY (b. 1958) ebisbing.com Nadine Boughton, Gloucester, MA (b. 1943) nadineboughton.com Mike Calway-Fagen, Longmont, CO (b. 1981) Gazelli Art, London, UK Larry Caveney, San Diego, CA (b. 1957) larrycaveney.com Coalfather Industries, IL/NY (C. Newsom, b. 1965, K. Jansson, b. 1970) coalfather.com Michi Colacicco, Los Angeles, CA (b. 1980) michicolacicco.com Chad Colby, Durango, CO (b. 1971) chadcolbyartist.com Edward Coppola, Staten Island, NY (b. 1957) edwardcoppola.tumblr.com Megan Coyle, Alexandria, VA (b. 1986) mcoyle.com Colleen Cunningham, Brooklyn, NY (b. 1977) colleencunningham.net Nana Deleplanque, Brooklyn, NY (b. 1955) nanadeleplanque.com Jane Dell, Maplewood, NJ (b. 1949) janedell.neoimages.net Diane DelliCarpini, West Townsend, MA (b. 1950) Adrienne Der Marderosian, Belmont, MA (b. 1957) Betsy van Die, Chicago, IL (b. 1958) talenthouse.com/risdartist Erin Elizabeth, Bloomington, IL (b. 1984) zhibit.org/elizabetherin Donise English, Poughkeepsie, NY (b. 1955) doniseenglish.com Anna Fine Foer, Annapolis, MD (b. 1957) annafineart.com Nan Fleming, Williamsburg, MA (b. 1952) nanfleming.com Fran Forman, Watertown, MA (b. 1945) franforman.com Paul Forte, Wakefield, RI (b. 1947) pauljforte.com Dana Gentile, Germantown, NY (b. 1980) danagentile.com Tara Giannini, Los Angeles, CA (b. 1977) taragiannini.com Aspen Golann, Boston, MA (b. 1987) aspengolann.com Daniel Gorostiaga, Miami, FL (b. 1971) marginalmanworks.com Carol Gove, Temple, NH (b. 1970) carolgove.com David Grainger, Brooklyn, NY (b. 1976) david-grainger.com

198

Mikhail Gubin, New Gardens, NY (b. 1953) gubinart.com Bill Gusky, Canton, CT (b. 1962) billgusky.com Henry Gwiazda, Fargo, ND (b. 1952) henrygwiazda.com Jason Hackett, Richmond, VA (b. 1970) Tom HĂŠbert, Willimantic, CT (b. 1947) tomhebertartist.com Justyn Hegreberg, Portland, OR (b. 1982) justynhegreberg.com Molly Heron, New York, NY (b. 1951) molly@mollyheron.com Rachel Hibbard, Portland, OR (b. 1963) web.pdx.edu Kelly Hider, Knoxville, TN (b. 1982) kellyhider.com Jennifer Hines, Chicago, IL (b. 1978) jenniferhines.net Marnie Jain, Jamaica Plain, MA (b. 1964) Juan Juarez, Syracuse, NY (b. 1967) juanjuarezart.com Andrew Ellis Johnson, Pittsburgh, PA (b. 1960) rootingfortheradical.com Kathryn Johnson, Huntsville, AL (b. 1963) gravitypi.com Lance Johnson, Mt. Vernon, NY (b. 1975) Lance ljayart (Facebook) Stacey-Robin H. Johnson, New York, NY (b. 1968) staroart.com Brian Jolley, Adliswil, Switzerland (b. 1963) brianjolley.com Cordula Kagemann, Bruchhausen-Vilsen, Germany (b. 1966) cordulakagemann.de Georgina Keenan, Hoboken, NJ (b. 1971) Elizabeth Kellogg, Somerville, MA (b. 1968) elizabethkellogg.com Barbara F. Kendrick, Champaign, IL (b. 1932) barbarafkendrick.com Vivian Hyelim Kim, Queens, NY (b. 1985) vivianhyelimkim.com Robert Koss, Los Angeles, CA (b. 1952) Lauren Kotkin, Washington, DC (b. 1967) sidewalks.shutterfly.com Louise Laplante, Easthampton, MA (b. 1950) louiselaplanteart.com Erika Lawlor Schmidt, Pawlet, VT (b. 1956) erikalawlorschmidt.com Pat Lay, Jersey City, NJ (b. 1941) patlay.com Robert Leaver, Plymouth, MA (b. 1939) robertleaver.com David Chapman Lindsay, Lubbock, TX (b. 1974) davidchapmanlindsay.com Robert Lobe, Long Island City, NY (b. 1950) robertlobephoto.com C. Matthew Luther, Milwaukee, WI (b. 1972) matthewluther.com Mary Lydecker, Somerville, MA (b. 1982) marylydecker.com Kate MacDonald, Vancouver, BC (b. 1970) katemacdonald.com

199

Keith Maddy, Boston, MA (b. 1964) The Schoolhouse Gallery, Provincetown, MA Caroline Maher, New York, NY (b. 1978) carolinemaher.com China Marks, Long Island City, NY (b. 1942) chinamarks.net Christina Massey, Brooklyn, NY (b. 1979) cmasseyart.com Mery Lynn McCorkle, Rome, GA (b. 1949) mlmccorkle.com Claudine Metrick, Stoughton, MA (b. 1979) claudinemetrick.com Benjamin Meyer, Rhinelander, WI (b. 1981) benjaminmeyer.net Ann Miller, Lincoln, MA (b. 1952) zannmiller.com Robin Miller, Savannah, GA (b. 1964) moxieindustries.blogspot.com Anna Mogilevsky, Dedham, MA (b. 1980) Robert S. Neuman, Winchester, MA (b. 1926) robertsneuman.com Susan Newmark, Brooklyn, NY (b. 1941) susannewmark.com Janine Nichols, Brooklyn, NY (b. 1953) jazzpaperscissors.blogspot.com Elaine Norman, New York, NY (b. 1960) altpick.com/elainenorman Jeanette O’Connor, Newtonville, MA (b. 1954) jeanetteoconnorart.com Tom Ogburn, Jerome, AZ (b. 1955) tomogburn.net Zoran Palurović, Novi Sad, Serbia (b. 1964) fortcollage.org Mariannic Parra, Angers, France (b. 1960) parra-art.com Cory W. Peeke, La Grande, OR (b. 1968) corypeeke.com Angela Piehl, Stillwater, OK (b. 1975) angelapiehl.com Mike Piergrossi, New York, NY (b. 1974) mikepiergrossi.com Jaye R. Phillips, Arlington, MA (b. 1947) Marcy Pope, Francestown, NH (b. 1959) W. David Powell, Underhill Center, VT (b. 1947) w-david-powell.com Ben Pranger, Maplewood, NJ (b. 1962) benpranger.com Amy Ragus, Walpole, MA (b. 1954) amyragus.com Edward Ramsay-Morin, Huntsville, TX (b. 1967) innerspacelabs.com Marcus Ratliff, Norwich, VT (b. 1935) marcusratliff.com Deborah Read, Concord, MA (b. 1964) depotsquaregallery.com Susan Reedy, Amherst, NY (b. 1956) susanreedy.com Jennifer Revit, Los Angeles, CA (b. 1972) jenniferrevit.com Jeffrey Robinson, Springfield, IL (b. 1984) jeffrobinsonstudios.com Viviane Rombaldi Seppey, New York, NY (b. 1960) vivianerombaldi.com

200

Ruby Rudnick, Chico, CA (b. 1984) rubyrudnick.com Michael Ryan, Brooklyn, NY (b. 1970) michaeljohnryan.wordpress.com Masha Ryskin, Rochester, NY (b. 1973) masharyskin.com Kat Schneck, Queens, NY (b. 1982) katschneck.com Kendall Schuller, Baltimore, MD (b. 1978) kendallblaire.com Peggy Schutze Shearn, Highland Park, IL (b. 1953) peggyshearn.com James Scott, Brooklyn, NY (b. 1970) jascott.com Kari Scott, Philadelphia, PA (b. 1961) fiberkari.com Wendy Seller, Newtonville, MA (b. 1949) wendyseller.com Lynn Skordal, Mercer Island, WA (b. 1949) regularpaper.blogspot.com Beverly Sky, Boston, MA (b. 1947) beverlysky.com Susanne Slavick, Pittsburgh, PA (b. 1956) Accola Griefen Gallery, New York, NY Merrill Steiger, New York, NY (b. 1951) steigerart.com Lindsay Stern, Kingston, NY (b. 1982) lindsaystern.com Deborah Stevenson, Brooklyn, NY (b. 1953) deborahstevenson.com Margaret Suchland, Tucson, AZ (b. 1944) margaretsuchland.com EsmĂŠ Thompson, Lebanon, NH (b. 1946) esmethompson.com Cecil Touchon, Pagosa Springs, CO (b. 1956) ceciltouchon.blogspot.com Virginia Ines Vergara, New York, NY (b. 1983) Erik Von Ploennies, Brooklyn, NY (b. 1969) erikvp.com Michael Waraksa, Chicago, IL (b. 1966) michaelwaraksa.com Margi Weir, Detroit, MI (b. 1952) margiweir.weebly.com Tony Wells, Jamaica, NY (b. 1958) registry.bricartsmedia.org Marianna Williams, Augusta, GA (b. 1990) mariannawilliams.com Jean Winslow, Lowell, MA (b. 1938) jeanwinslow.com Lena Wolff, Berkeley, CA (b. 1972) lenawolff.com Michelle Word, Lansing, MI (b. 1979) michelleword.com Polly Yates, Chicago, IL (b. 1979) pollyyates.com Mark Younkle, Boston, MA (b. 1957) 46 Waltham St, Studio 311 Renna Mae Zimmer, New York, NY (b. 1952) rennamaeart.com

201

Thompson Gallery