The Art of Found Objects: Interviews with Texas Artists

By Robert Craig Bunch | Go to book overview

Vernon Fisher

Received December 5, 2011
Born 1943, Fort Worth; lives in Fort Worth

Figure 28. Vernon Fisher, Stockton, 1986–2010

Oil and acrylic on panel with wood trestlework, 74" × 80" × 4"

Courtesy of the artist

Photograph: Vernon Fisher

Q Why do you like the idea of “correspondences among unlike things”? What are some examples in your work?

A It seems magical, as one might expect, it being a remnant from the prescientific cosmology of the Middle Ages. You see examples all through Shakespeare. You also see it in Leonardo’s Lady with Ermine where the woman and the ermine look an awfully lot alike. In my work, a good example would be the linking of bat with umbrella in Basutoland or the comparison of the structure of the parachute and the seashell in Parrot.

Q How is collage essentially about disruption, about “different worlds colliding” (as you put it)? Can a collage be seamless and harmonious?

A This all happens on a relative scale, but yes, disruption would seem to be at least a part of what “collage” means. What’s the point otherwise? One can try to make it seamless; you see this in filmmaking, especially conventional filmmaking, but that seamlessness tends to disappear once you look at a movie without the sound.

Q You pointed to your 2006 oil and acrylic on canvas, The Raw & the Cooked, as collage. Conventional wisdom would probably call it a painting, which of course it is. You even called it your “natural man” painting. Does collage come in a vast range of media? Is it in any sense the twodimensional counterpart of assemblage?

A This is just an example of how slippery words can be once we look at how we actually use them. Of course, we rebel against calling The Raw & the Cooked a collage: it’s all paint on canvas; nothing is “stuck on.” On the other hand, we don’t have a problem with calling the narrative technique of Donald Barthelme collage even though it’s all print on paper. What seems essential here is the joining of elements that carry traces of differing origins, in

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The Art of Found Objects: Interviews with Texas Artists
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • Acknowledgments ix
  • Introduction 1
  • Margaret Adie 9
  • Helen Altman 12
  • Celia Álvarez Muñoz 14
  • The Art Guys- Michael Galbreth 17
  • Jack Massing 19
  • Frances Bagley 22
  • Karin Broker 25
  • Maureen Brouillette 28
  • Steve Brudniak 31
  • Margarita Cabrera 35
  • Eugene W. R. Campbell Jr 38
  • Danville Chadbourne 40
  • Claire Cusack 46
  • Robert Dampier 48
  • Roberto del Rio 51
  • Martin Delabano 54
  • Vernon Fisher 58
  • Trenton Doyle Hancock 60
  • Vincent Hannemann 62
  • Ann Harithas 66
  • Dana Harper 69
  • Joseph Havel 71
  • Tracy Hicks 73
  • Paul Horn 77
  • Otis Huband 79
  • Christopher Hynes 81
  • Barbara Irwin 83
  • Joy Jenkins 85
  • Norman Kary 89
  • Mimi Kato 93
  • Sharon Kopriva 96
  • Laura Jean Lacy 98
  • Marilyn Lanfear 101
  • Lance Letscher 104
  • Ken Little 106
  • Bert L. Long Jr 111
  • Jesse Lott 115
  • Edward Lane McCartney 117
  • Mary McCleary 121
  • Leila McConnell 124
  • Kelly O’Connor 127
  • Mari Omori 129
  • Kathleen Packlick 131
  • Angelica Paez 134
  • Kevin Parmer 136
  • Forrest Prince 139
  • Russell Prince 142
  • Dario Robleto 144
  • Aaron Roe 147
  • Jonathan Rosenstein 149
  • John Mark Sager 151
  • Joel Sampson 154
  • Ward Sanders 156
  • Luke Savisky 158
  • Kelly Sears 163
  • Al Souza 165
  • Julie Speed 167
  • James Michael Starr 169
  • Henry Stein 173
  • Gary Sweeney 175
  • Cecil Touchon 177
  • Patrick Turk 181
  • Janet L. Waldrop 184
  • Debbie Wetmore 186
  • Steve Wiman 188
  • Sources and Further Reading 191
  • Index 199
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