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Posts Tagged ‘found objects’

The box you saw a couple of posts earlier is now fully integrated into the painting. In full frontal view its third dimension disappears.  But notice the added wit—feathers!

Having completed the painting, the artist now has to name the thing. When she walks her dog by the lake, Terry Fohrman takes pictures of sidewalks with their cuneiform cracks and collects found objects like Robert Rauschenberg. In general, she feels appalled by our culture’s wastefulness.  The title came easy: “Don’t Throw It Away.”

I look forward to seeing this piece displayed on a wall.  Here you see it leaning against a wall, which requires a certain effort on the part of the viewer.  You have to ignore the floor and the baseboard.  As you put up with that task, you may feel that thinking and painting “inside the box” was/has been not such a bad idea after all.  Right. Following the rules is the common thing to do, it’s easy, which is why “thinking outside the box is rare.”  And we call that “art.”

You can see the earlier stage of this piece at

https://artamaze.wordpress.com/2018/10/29/art-outside-the-box-and-with-the-box/

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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16maynobounds3d

Are you allowed to do this?

Yes, you’re allowed to do this.

But it’s not done frivolously. There’s surprise and a sense of liberation in the act of attaching found objects to the canvas.  It’s done with a sense of history, referencing Rauschenberg and Johns, for example.

16maynoboundaries

Terry Fohrman, mixed media, ~30” 24”

https://artamaze.wordpress.com/2016/09/28/found-objects/

https://artamaze.wordpress.com/2016/09/27/shapes-and-light/

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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pavement1

At a distance you see an engrossing painting in muted complimentary colors, blues and orange-browns.  If you move pavement1numbersclose to this canvas you’ll see that things are glued onto it.  At (2) there’s a distressed black rectangle with a yellow band at the bottom that has a zig-zag line on it.  At (3) the artist painted a continuation of (2).  At (1) we find a rich brown patch that is actually a piece of sand paper. At (4), some pieces of cloth and frayed canvas.

The realization that these banal objects on the canvas [(2) is some rubber that was found on the street] are used so harmoniously in the painting is thrilling to any modernist.  This juxtaposition of aesthetics and the mundane marks modernism.

Before 1912 painters did not glue anything onto their drawings or paintings. That summer in 1912, however, Georges Braque saw some fake wood grain wall paper in a store window, bought a roll and pasted strips of it into his charcoal drawings. The audacity!  You call that art!? Art was expected to emanate from some higher power and remind us of lofty ideals to live up to.  Now this!  Even Picasso was shocked.  But he immediately understood that collage was another way to subvert the ideals of the Renaissance and so, of course, he was all for it.  Thus we have the beginning of Synthetic Cubism, which gave us a new way of staying alert when looking at art and life.  Thank you, Braque!

Georges Braque (French, Argenteuil 1882–1963 Paris) Fruit Dish and Glass, Sorgues, autumn 1912 Charcoal and cut-and-pasted printed wallpaper with gouache on white laid paper; subsequently mounted on paperboard; 24 3/4 × 18 in. (62.9 × 45.7 cm) The Metropolitan Museum of Art, New York, Promised Gift from the Leonard A. Lauder Cubist Collection (SL.17.2014.1.8) http://www.metmuseum.org/Collections/search-the-collections/490612

Painting with mixed media by Terry Fohrman, oil on canvas on board, ~20” x 16”

Georges Braque 1881-1963

https://artamaze.wordpress.com/?s=picasso

https://artamaze.wordpress.com/?s=braque

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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http://katherinehilden.wordpress.com

www.katherinehilden.com

www.khilden.com

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