Dear members,
I would like to share with you some kinderd spirit teachers of the paper world. The will be teaching some classes, take a look at their site and classes.
http://www.prairie-spirit-papers.com/classes/
Monday, March 30, 2009
Tuesday, March 24, 2009
Sunday, March 15, 2009
April 5th Meeting 1:30-4:00pm
River Delta, Cheryl, Holz Mixed Media Artist.The Midwest Collage Society will be having there annual Critique April 5th from 1:30-4:00pm at 1710 Plainfield Road, Darien IL. Located in the Darien Police Station, training room. All members are to bring up to two piece completed or nearly complete for Cheryl Holz, Mixed Media Artist to critique. http://www.cherylholz.com/
There will be a $5.00 fee per person.
Meeting will start promptly at 1:30 with our elections then follow with the critique.
Dear Member,
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~`
Here is a List of your Candidates for the April's Elections
Executive Board
President-Tania Blanco
Vice President/Membership Chair-Ann Hupke
Treasurery-Dale Lorens
Education Chair-Nancy Staszak
Exhibit Chair-Pat Brindle
Co-Chair-Connie Nestler
Publicity/Web/Blog-Laura Lein-Svencner
Need an asst. for publicity
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~`
Here is a List of your Candidates for the April's Elections
Executive Board
President-Tania Blanco
Vice President/Membership Chair-Ann Hupke
Treasurery-Dale Lorens
Education Chair-Nancy Staszak
Exhibit Chair-Pat Brindle
Co-Chair-Connie Nestler
Publicity/Web/Blog-Laura Lein-Svencner
Need an asst. for publicity
Other service jobs not being voted but member have volunteered to serve.
Hospitality-Sylvia Koch
Newsletter-Jerri Reimann and need an asst.
AFA Delegate-Joan Lucht
CD/Portfolio-Cynthia Lee
Special note to all members please review the by laws and exhibit info in your Directory so we're all ready for the next year together.
Remember to also check regular the MCS blog for updates between Newsletters/newsflashes. http://midwestcollagesociety.blogspot.com/
Friday, March 13, 2009
Opening Reception Night in Indiana
This place is wonderful, Huge is more like it and they really have taken care of us well. We all were in awe of it and so pleased by the space and the easy drive in. It took about an hour to get there but a fast moving ride in. If you get a chance you should see the show!!!Sunday, March 8, 2009
Hanging of Indiana show March 2009
The Midwest Collage Society will be
Exhibiting at W. F. Wellman Exhibit Hall,
March 9-May 1 2009Indiana Welcome Center
I80/94 & Kennedy Ave,Hammond Indiana, 46323
Open Daily 8:00-5:00pm
Free Admisson
Opening Reception Thursday, March 12 5:00-7:00pm
Hi everyone,
Exhibiting at W. F. Wellman Exhibit Hall,
March 9-May 1 2009Indiana Welcome Center
I80/94 & Kennedy Ave,Hammond Indiana, 46323
Open Daily 8:00-5:00pm
Free Admisson
Opening Reception Thursday, March 12 5:00-7:00pm
Hi everyone,
Nancy S. Sent me the photo's from yesterday's hanging. Well as you can see this is the biggest exhibit space I've ever been in "How about you all?" Carpools are getting set up as we move into the next week so if your interested in going send a email to Tania or Laura as they are both going to drive. We just may leave at different times. Reception is March 12th from 5-7pm.
What a great event and Special Thanks goes out to our gals Ann and Mary Anne for hauling all the artwork and for Pat, Nancy, Sylvia and Ann for hanging the show, I think our president was there too, Tania. Job well done, Like I've said before we always come through and put on a wonderful exhibit.
Thanks to all and you should feel proud of this event!!
~v~Laura,
blog manager
Tuesday, March 3, 2009
Mary Warner Mar/April Somerset Studio's 2009
Mary Warner, MCS member and a women of many talents and a heart of Gold has been featured this month in Somerset Studio's Magazine, March / April issue Page 97. Make sure you pick up your copy. Way to go Mary!!! www.somersetstudio.comEX. Corpse Diagram for all to see
Canvases need to be 12 x 12,this a very rough diagram of the Corpses but this way you can get an idea about what is needed.
~v~
Monday, March 2, 2009
For MCS members Only~
Passing on very important info from Cynthia Lee:
******
The Midwest Collage Society has arranged a block of time
with David Mayhew to photograph our work so that we have
up-to-date images for a portfolio CD to present to galleries.
Please bring 3 of your BEST collages/assemblages, plus your Exquisite Corpse collage, on SATURDAY, MARCH 14TH between 11 AM and 1:30 PM
to Room 142, OCC Building, College of DuPage in Glen Ellyn.
DIRECTIONS: Take Butterfield Road WEST to Lambert Road(Lambert is about 3 miles west of Highland Avenue)Turn RIGHT (NORTH) on Lambert Go to College Street, Turn LEFT Turn LEFT again into parking lot.The entrance to the OCC building is off the walkway between the two buildings on the left. You'll see a glassed-in entryway. Turn LEFT into the OCC building and walk straight ahead to Room 142.The studio phone number is (630) 942-2560. Note: While David is able to photograph work under glass, the images are sharpest if they are not yet framed with glass.
For a small fee, you will be able to take home
a CD with images of your pieces.
Hope to see you there!
Cynthia Lee
******
The Midwest Collage Society has arranged a block of time
with David Mayhew to photograph our work so that we have
up-to-date images for a portfolio CD to present to galleries.
Please bring 3 of your BEST collages/assemblages, plus your Exquisite Corpse collage, on SATURDAY, MARCH 14TH between 11 AM and 1:30 PM
to Room 142, OCC Building, College of DuPage in Glen Ellyn.
DIRECTIONS: Take Butterfield Road WEST to Lambert Road(Lambert is about 3 miles west of Highland Avenue)Turn RIGHT (NORTH) on Lambert Go to College Street, Turn LEFT Turn LEFT again into parking lot.The entrance to the OCC building is off the walkway between the two buildings on the left. You'll see a glassed-in entryway. Turn LEFT into the OCC building and walk straight ahead to Room 142.The studio phone number is (630) 942-2560. Note: While David is able to photograph work under glass, the images are sharpest if they are not yet framed with glass.
For a small fee, you will be able to take home
a CD with images of your pieces.
Hope to see you there!
Cynthia Lee
Sunday, March 1, 2009
For those that may be interested
“Altogether Mutable: The Work of Mary Lou Zelazny”Hyde Park Art Center, 5020 S. Cornell Ave., Chicago, IL 60615February 1 through April 12, 2009. Mon-Thurs: 9am-8pm Fri-Sat: 9am-5pm Sun: 12pm-5pmInformation: 773-324-5520 or visit http://www.hydeparkart.org/
“Altogether Mutable: The Work of Mary Lou Zelazny”
February 1 - April 12, 2009
At the Hyde Park Art Center, a few blocks from the home of President Obama, is a retrospective of Chicago artist, Mary Lou Zelazny (b.1956). The artist, an adjunct professor at the Art Institute of Chicago, describes her work as “paintings with collage.“ Thirty years are represented in this mid-career exhibit (1980-2008), and most of the seventy works are large oil or acrylic paintings. Zelazny incorporates papers with exceptional skill, and collage serves to intensify the social commentary inherent in her work. Influenced by the Chicago Imagists, Zelazny’s early style navigates between Surrealism and Realism. Her paintings startle and unnerve us, with human or alien forms centered prominently in abstract landscapes. Figures are faceless, with fluid boundaries (Thick As Thieves, 1986; Silver Lining, 1986). Zelazny fills them with vintage newspaper and magazine images from the 1940s and 1950s: mechanical/electrical parts, military weapons, appliances, household gadgets. These creatures carry our cultural detritus inside them, yet remain eerily unconnected to their surroundings. In The Emblematic Twins 1 and 2 (1988), two alien forms rise above a barren landscape. Their torsos are images of planes, bombs, guns, bone marrow, binoculars, soldiers marching, and the anti-war sentiment is unmistakable. In Amazon Papoose (1987), a very large black-haired figure carries a papoose. Papers in the figure’s back reflect nature: Monarch butterflies, zebras, snakes, plants, a waterfall. The papoose is constructed of plane parts, TV monitor, satellite, computer, camcorder, microphone, telephone, gauges, clock. The painting makes a powerful statement about the disconnect between our technologically-driven lives and the natural environment of our ancestors.
In 1989, Zelazny begins a significant transition. She paints more detail into less abstract landscapes, and uses media images more selectively. In three collage and oil paintings in 1990, she lines the edges of flowers with images: knives, a hair dryer, screws, cameras, watches, perfume, iron, scissors. This alters traditional still life, and asks us to reflect on what we consider beautiful, meaningful, and worthy subjects for art. In She Had Blue Eyes (1997), a ghostly apparition drifts above an abstract meadow. She has no face, and wears diaphanous fabric. Her figure is painted except for a collage tiara of rubies and diamonds. Scattered around her are magazine images from brooches, rings, and pearl necklaces. Other necklaces encircle her body like chains. We see her only as dress and jewels. The feminist statement is clear and remains relevant.
After 2003, Zelazny makes another transition toward a less edgy Realism. Her forms are clearly human and the landscapes more inviting. She begins to replace media images with her own painted papers. In House Proud (2003), two women relax on a living room sofa. Zelazny adds collage fragments everywhere, repeating color and pattern to render the women inseparable from the décor. Even their faces are partially constructed with “swatches” from nearby curtains. She blurs the boundaries between form and background through this same use of collage in Beautiful Tomorrow (2003), Drive Forever (2005), and Harvey (2007).
Zelazny does use images from mass media in some of her recent, smaller paintings but these are rarer and more playful. Increasingly, she applies painted papers to enhance texture in skin and clothing (High Desert and 3 Lapping Waves, both 2007), and landscapes (Oval Pond and Wine or Water, both 2008). Her naturalism and use of collage convey a sense that figure and landscape co-exist peacefully, each helping to complete the other.
It is refreshing to view a large body of work by a woman artist who is unafraid of social commentary and who uses collage so effectively towards this end. Over time, the subjects and style of Zelazny’s art shift from passionate and often jarring social protests to a softer, more personal reflection. This arc mirrors the journey of an entire generation, and is well worth seeing.
Cynthia J. Lee, 2.23.09
At the Hyde Park Art Center, a few blocks from the home of President Obama, is a retrospective of Chicago artist, Mary Lou Zelazny (b.1956). The artist, an adjunct professor at the Art Institute of Chicago, describes her work as “paintings with collage.“ Thirty years are represented in this mid-career exhibit (1980-2008), and most of the seventy works are large oil or acrylic paintings. Zelazny incorporates papers with exceptional skill, and collage serves to intensify the social commentary inherent in her work. Influenced by the Chicago Imagists, Zelazny’s early style navigates between Surrealism and Realism. Her paintings startle and unnerve us, with human or alien forms centered prominently in abstract landscapes. Figures are faceless, with fluid boundaries (Thick As Thieves, 1986; Silver Lining, 1986). Zelazny fills them with vintage newspaper and magazine images from the 1940s and 1950s: mechanical/electrical parts, military weapons, appliances, household gadgets. These creatures carry our cultural detritus inside them, yet remain eerily unconnected to their surroundings. In The Emblematic Twins 1 and 2 (1988), two alien forms rise above a barren landscape. Their torsos are images of planes, bombs, guns, bone marrow, binoculars, soldiers marching, and the anti-war sentiment is unmistakable. In Amazon Papoose (1987), a very large black-haired figure carries a papoose. Papers in the figure’s back reflect nature: Monarch butterflies, zebras, snakes, plants, a waterfall. The papoose is constructed of plane parts, TV monitor, satellite, computer, camcorder, microphone, telephone, gauges, clock. The painting makes a powerful statement about the disconnect between our technologically-driven lives and the natural environment of our ancestors.
In 1989, Zelazny begins a significant transition. She paints more detail into less abstract landscapes, and uses media images more selectively. In three collage and oil paintings in 1990, she lines the edges of flowers with images: knives, a hair dryer, screws, cameras, watches, perfume, iron, scissors. This alters traditional still life, and asks us to reflect on what we consider beautiful, meaningful, and worthy subjects for art. In She Had Blue Eyes (1997), a ghostly apparition drifts above an abstract meadow. She has no face, and wears diaphanous fabric. Her figure is painted except for a collage tiara of rubies and diamonds. Scattered around her are magazine images from brooches, rings, and pearl necklaces. Other necklaces encircle her body like chains. We see her only as dress and jewels. The feminist statement is clear and remains relevant.
After 2003, Zelazny makes another transition toward a less edgy Realism. Her forms are clearly human and the landscapes more inviting. She begins to replace media images with her own painted papers. In House Proud (2003), two women relax on a living room sofa. Zelazny adds collage fragments everywhere, repeating color and pattern to render the women inseparable from the décor. Even their faces are partially constructed with “swatches” from nearby curtains. She blurs the boundaries between form and background through this same use of collage in Beautiful Tomorrow (2003), Drive Forever (2005), and Harvey (2007).
Zelazny does use images from mass media in some of her recent, smaller paintings but these are rarer and more playful. Increasingly, she applies painted papers to enhance texture in skin and clothing (High Desert and 3 Lapping Waves, both 2007), and landscapes (Oval Pond and Wine or Water, both 2008). Her naturalism and use of collage convey a sense that figure and landscape co-exist peacefully, each helping to complete the other.
It is refreshing to view a large body of work by a woman artist who is unafraid of social commentary and who uses collage so effectively towards this end. Over time, the subjects and style of Zelazny’s art shift from passionate and often jarring social protests to a softer, more personal reflection. This arc mirrors the journey of an entire generation, and is well worth seeing.
Cynthia J. Lee, 2.23.09
(One of our own MCS Members)
April's Meeting
MCS Meeting will be on April 5th 1:30-4:00pm
at 1710 Plainflied Road, Darien IL
This will be a exciting time for our members, We are asking them to bring in two pieces of their work to be critiqued by award winning mixed media artist, Cheryl Holz. Also, it's our election so come and vote and be a part of our exciting year ahead. For 2009-2010: several exhibits, a collaging retreat and other events are already lined up.
at 1710 Plainflied Road, Darien IL
This will be a exciting time for our members, We are asking them to bring in two pieces of their work to be critiqued by award winning mixed media artist, Cheryl Holz. Also, it's our election so come and vote and be a part of our exciting year ahead. For 2009-2010: several exhibits, a collaging retreat and other events are already lined up.
W.F. Wellman Exhibit Hall
The Midwest Collage Society will be
Exhibiting at W. F. Wellman Exhibit Hall,
March 9-May 1 2009
Indiana Welcome Center
I80/94 & Kennedy Ave,
Hammond Indiana, 46323
Open Daily 8:00-5:00pm
Free Admisson
Opening Reception Thursday, March 12 5:00-7:00pm
Exhibiting at W. F. Wellman Exhibit Hall,
March 9-May 1 2009
Indiana Welcome Center
I80/94 & Kennedy Ave,
Hammond Indiana, 46323
Open Daily 8:00-5:00pm
Free Admisson
Opening Reception Thursday, March 12 5:00-7:00pm
Photo's from March 1st meeting
This is our packet that was handed out after we where able to experiment with the marbling technique.
Books and handmade books, what great possiblities with paper.
1. Put down a layer of shaving cream about a good 2" the size of your paper. Use the shaving cream from the dollar store. Works best.
Spread out the Shaving crean in a nice even palette to work off of.
You can use food coloring as you pigment or fluid acrylics too.
Regular copy paper, cut up mat board to spread shaving cream, popsicle stick to swirl the color with.
Small drop of food color is all that is needed.
Angela is swirling the food coloring around.
Doesn't this look fun? you can make some great designs.
Cool whip bowl is to scrap off the extra shaving cream when you make a marble print. There will be extra shaving cream on there so scrap it off with the mat board and save it in the bowl. Later you can reuse that.
This is Barb B's piece and it turned out great.
Tania our MCS President is have a great time spreading the palette surface flat to give it a try again.
Eve and Connie are sharing their palettes and turning out some great Marble papers.
Here is Barb B. Creating that great piece of paper.
Marble papers drying on the floor waiting to be turned in to a small book later in the workshop.
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