Monday, August 27, 2012

Three New Paintings by Cecil Touchon

 Post-Dogmatist Painting #571 - 66x44 inches - acrylic and collage on canvas

  Post-Dogmatist Painting #572 - 66x44 inches - acrylic and collage on canvas


Post-Dogmatist Painting #573 - 60x48 inches - acrylic and collage on panel

Wednesday, August 22, 2012

Strange Glue - Traditional & Avant-garde Collage - Collage at 100



Thompson Gallery at The Cambridge School of Weston
(781) 398-8316 or (781) 642-8608
thompsongallery@csw.org

NEWS RELEASE

WESTON, Mass. – The Thompson Gallery at The Cambridge School of
Weston is pleased to present “Collage at 100,” a three-part exhibition series
that celebrates the centennial of the appearance of collage in painting.

The three-part exhibition will run from Sept. 7, 2012 through June 16th,
2013, and will highlight work from over 100 artists, including celebrated
contemporary collage practitioner Michael Oatman, in the final exhibition of
the series. “Collage at 100” will be unveiled with an opening reception with
the artists on Friday, Sept. 7, from 4 p.m. to 7 p.m. at the Thompson
Gallery.

“There have only been a handful of exhibits that have celebrated collage's
centennial,” said Todd Bartel, Thompson Gallery Director. “We received over
500 applications for this show, and I reviewed over 3500 works of art. This
exhibition is sure to be one of our most popular and densely concentrated
shows. It is thrilling for our teaching gallery to take the pulse of
contemporary collage after its inception 100 years ago.”

“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. The first show will run from Sept. 7 through Nov. 20, 2012.

The second part, “Strange Glue, Collage & Installation,” will showcase
contemporary collage strategies that either border upon or require overt
installation tactics. It will examine the work of 24 contemporary artists as it
demonstrates the connections between the flatness of collage and the
physicality of installation. The second show will launch with an artist’s
reception on Dec. 19, running through Feb. 22, 2013.

Michael Oatman’s “Another Fine Mess,” the final show in the exhibition,
assembles the work taken from his days as an emerging artist at the Rhode
Island School of Design in the 1980’s through to his monumental “maximum
collages,” a term he coined to refer to his installations, including work made
specifically for “Another Fine Mess.”

The Last Vispo Anthology: Visual Poetry 1998-2008





New book my work is featured in:

The Last Vispo Anthology: Visual Poetry 1998-2008


Fantagraphics spotlights the intersection of art and language in this innovative new collection — without peer in English — that gathers the work of visual poets from around the world into one stunning volume. The alphabet is turned on its head and inside-out and the results culminate in a compilation of daring and surprising verbo-visual gems.
The Last Vispo Anthology is composed of vispo (a portmanteau of the words “visual” and “poetry") from the years 1998 to 2008, during a burst of creative activity fueled by file sharing and email, which made it possible for the vispo community to establish a more heightened and sophisticated dialogue with one another. The collection extends the dialectic between art and literature that began with ancient “shaped text,” medieval pattern poetry, and dada typography, pushing past the concrete poetics of the 1950s and the subsequent mail art movement of the 1980s to its current incarnation. Rather than settle into predictable, unchallenged patterns, this vibrant poetry seizes new tools to expand the body of work that inhabits the borderlands of visual art and poetic language.
The Last Vispo Anthology features 148 contributors from 23 countries on five continents. It includes 12 essays that illuminate the abundant history and the state of vispo today. The anthology offers a broad amalgam of long-time practitioners and poets new to visual poetry over the last decade, underscoring the longevity and the continued vitality of the art form.
Advance Praise:
“The descriptor ‘visual poetry’ cannot begin to hint at the wealth of potent mystery that The Last Vispo contains. It knocked my mind right off its cozy little track and sent it sprawling through a myriad of brand new experiences. I can’t remember the last time I encountered something so charged, mysterious, deep and pleasurably upsetting as this book.” – Jim Woodring
“A delightful cornucopia of imaginary languagescapes, opening the eye to other alphabetic climes, beyond the ho-hum regimentation of linear normalcies. & all from (just about) the past decade. Visual poetries: alive and expanding. It’s positively viral.” – Charles Bernstein
“Staring your way into and through the letter as object — the letter as solitary sign, the letter as crowned king. Staring gives us the keys to the kingdom. This book is a glorious adjunct to the long history of concrete and visual poetry. Long live the king!” – Harry Mathews