mixed media collage by clinock
thanks to youtube for movie clip
Extract from VAG’s write up on Jacques Villegle:
“The idea was really to take what was out there in the street and basically just select a section of it and frame it. All the work was really done by someone else, time passing, or the weather.”
“In the 1930s, the poster was called the “journal (newspaper) of the street,” something that really reflected society. And what I think I realized at the time was that the posters, as an art form, were always going to evolve and so there would always be something new to explore. In the 1950s for example, photography was not used in posters, it was still drawings.”
A keen observer of urban art and society, each of his works bears the name of the street where the poster was collected. For Villeglé the posters are as much witnesses as they are actors in their environment, and while he makes the choice of framing the final image, he is completely absent from the actual execution of the works, which have been created by an anonymous collective, which is why he describes his ripped posters as “lacères anonymes.”
Credits: All images, except the first and last, and all descriptors were photographed at the Vancouver Art Gallery (VAG) by clinock. Thanks to the VAG.
The first and last images thanks to Google Images.
Villegle quotes in italics and final write-up on the artist thanks to http://www.blouinartinfo.com
Once upon a time, in 2011, my greenhorn days on WP, I wrote a post asking, definitively, who was the first 20th century artist to use text in their painting and which painting was it?
I rarely ask such detailed and mundane questions anymore but five years ago I was much closer to my academic past and my art historian’s hair splitting curiosity. Now, the only questions I ask are related to the quality of tequila, missing socks, mermaids and mortality.
I was reminded of the mentioned 2011 post as I stood in front of Picasso’s Still Life with Bottle and Glass at the Vancouver Art Gallery’s spring exhibition MASHUP. I was also entranced as I always am when I manage to place myself before the work of a master.
Although photos were allowed the light was so weak around Picasso and Braque that I have replaced my dark photos with quality images of the same works, from Google Images. Seems like cheating somehow, to use images not my own, and you miss the mood and the gorgeous ancient frame around the Picasso, but you will need to imagine.
This is the VAG write-up for the Picasso piece:
In my 2011 post I settled on Still Life with Chair Caning, a Picasso painting from 1912 as the first painting with text. I understand now that Braque was probably the first of the two to use text, but more in the medium of printing.
Art dealer and print enthusiast Daniel-Henry Kahnweiler commissioned Georges Braque to execute the large intaglio print Fox in 1911, at the same time that he asked Pablo Picasso to make a print using the same size plate. Cubism was a radical new style being created by these two artists as a collaborative effort, and this style is evident in Fox, a café still life in which Braque used the drypoint technique to fragment the forms by means of short, spontaneous, staccato lines and cross-hatchings. Textual components such as the word “FOX” make reference to an English-style bar frequented by the Cubist poets and painters, while “Old Tom Gin” refers to the central motif of the still life, a bottle of gin. (moma.com)
To stay in context I continue to choose Still Life with Chair Caning, but this time because it is entirely a true 1912 MASHUP!
across frayed and faded
veils of memory,
of stained days,
the one alone,
Loss and paradox
dried bones in dank tunnels
beneath a burning bridge
where bright darkness
casts an eye,
staring down my soul,
stirring my cells
struggling for escape
to rusting remnants
and luminous ice,
a nameless shadow
to be loved into
sleeping rocks and gulls,
wolf and worm,
petal and seed.
To enter floods and dust,
and the rising moon.
To let go.
Mixed media painting and poem by clinock.
The crowds were thickly gathering on the final day of the exhibition as I captured these photos, I apologize for the poor quality, shooting between dozens of heads. The wall description photo was totally out of focus so I paraphrase it here:
‘The collages forming Coupland’s Penguins series are centered around the Penguin publishing house’s familiar orange and black paper backs. Over the covers of these iconic cultural tomes Coupland has applied vinyl texts. Some of these, read across several splayed paperbacks, form short phrases such as “Love Will Tear Us Apart” a song by British post-punk band, Joy Division or “Blasphemous Rumours” the title of a Depeche Mode song. These phrases layer additional cultural references to the books beneath them.
In my photos I have edited the sequences for brevity.
I admit I haven’t read all of the novels referenced. I know there are those amongst you that have. I believe the vinyl overlays probably connect to the underlying theme of each novel. Am I correct in my assumption?
I nostalgically connect with the distinctive design of the Penguin covers, remembering them from my early years of reading. I think I understand some of the textual relevance of the overlays. I enjoy the formal qualities of the juxtapositions of Coupland’s text over the Penguin covers, the blocking off and letting through, the casual use of duct and painter’s tape. How do these collages work for you? What memories are evoked for you by these Penguin covers?
Please see my first post in this series for full explanation of all posts. Also see my first ‘Slogans’ post to understand #8.
Credits: thank you to Douglas Coupland and the Vancouver Art Gallery for images and wall descriptions.
All photos by clinock.