The Art of Found Objects: Interviews with Texas Artists

By Robert Craig Bunch | Go to book overview

Cecil Touchon

Received December 5, 2012; amendments by artist July 2014
Born 1956, Austin; lives in Santa Fe, New Mexico

Figure 72. Cecil Touchon, Post-Dogmatist Painting #675, 2014

Paper and acrylic on cradled birch panel, 66" × 44"

Courtesy of the artist

Photograph: Cecil Touchon

Q Were Picasso’s 1912 collages as groundbreaking as they are made out to be? After all, pasting papers to great aesthetic effect goes back at least to medieval Japan.

A Collage and assemblage have been around for many centuries and in many forms all over the world. However, in Western culture, once dominated by painting and stone or bronze sculpture, the introduction of collage and assemblage was a radical shift. It is difficult now, with these new mediums having come fully into their own, for us to imagine what a leap it must have been in 1912 to consider disrupting the purity of the dominant mediums by the inclusion of foreign elements.

At the time, in the midst of intense shifts in perception about the world and about the cultural status quo, disruption and disorientation were becoming normal states of mind from which to work. The perception of the world was becoming less solid and more open to endless possibilities, while the supremacy of painting was being brought into question by the growth of photography. This is evidenced in the Analytic Cubist experiments of Pablo Picasso and Georges Braque that gave rise to both collage and assemblage.

The spread of collage and assemblage as new mediums deserving of attention by serious artists goes far beyond the mere fact of Picasso and Braque having introduced them. These new ways of working would have remained only an anomaly had it not been for a number of other important and simultaneous technological, cultural, and political factors.

For our purposes, the ubiquity of paper, printing techniques, widespread literacy, books, magazines, news media, photography, advertising, mass transportation, automobiles, airplanes, and the socio-political and cultural shake-up [resulting from] World War I were more than sufficient to lead to the growth of collage and assemblage in the European arts communities by the 1920s and 1930s, regardless of Cubism. In short, it was inevitable that

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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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