THE WEEKENDER 12 | 2025
Collage News & Inspiration
WORDS TO LIVE BY
“Every artist has thousands of bad drawings in them and the only way to get rid of them is to draw them out.”
― Chuck Jones
The latest collage news and inspiration!
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NEWS
In that respect, “Untitled 1050” (1982–97) could be Hood’s elegy to our fragmented culture, and even her coded swansong to artmaking. The collage includes a reproduction of Georgia O’Keeffe’s watercolor “Evening Star No. III” (1917), as well as wallpaper pattern, an autumn leaf folded within wrinkled gold sheets, and a particle physics image taken during a collider experiment. It’s the kind of multi-valued artifact one can imagine Houston’s NASA program — where Hood interacted with scientists and astronauts — launching into outer space to stand in for a searching and unsettled humanity back on earth. - Dorothy Hood’s Landscapes of the Psyche - via Hyperallergic
As Brian Wallis, executive director of CPW said, “In her visual work, Qiana creates highly innovative collages that cleverly highlight neglected histories of women’s labor, racism, and mothering,” which made her the perfect choice for the the Saltzman Prize, which recognizes the contemporary voices who are shaping photography and visual culture. - Qiana Mestrich is honoured with the Saltzman Prize 2025 by CPW - via Vogue
Brainard’s work was often born from direct collaboration—illustrating a collection of John Ashbery’s poems, for example, or inviting poets to make comic strips with him—and from the drift of everyday life. His œuvre includes breezy chronicles of his friends’ social lives, odes to the cigarettes he smoked (at one point, Brainard consumed more than four packs a day), and collages that moved effortlessly between Pop and the personal, many of which he gave to friends. Self-portrait is a frequent genre for Brainard, too, but his are of a particular kind, less memento mori and more playful remembrances—Polaroids for his friends to place in their wallets. - The Ecstatic Intimacies of Joe Brainard - via The New Yorker
Early on in a new, spectacular Lili Ország exhibition in Budapest, there is a collage from 1956 called Excavation/ Woman digging in the earth. The protagonist of the image stands over a hole in the ground that she has dug with her bare hands. The woman bears a striking resemblance to the artist herself, with her head of heavy black hair and the air of intense concentration. In the foreground is another woman, head turned away gazing resolutely back, arms thrust heavenward suggesting both ecstasy and flight. - This Artist Drew Inspiration from Jewish Gravestones - via Lilith
On March 21, Pace Prints will open a solo exhibition of 16 new pieces by Michael Kagan. Though the Brooklyn-based fine artist has become known for kinetic compositions born from bold brush strokes, this show—aptly entirely “Downforce”—features Formula One-inspired collage works on panel. None of the gravity behind Kagan’s painted works has been lost in the shift between mediums, and the subject matter—ranging from a depiction of Lewis Hamilton after his first Grand Prix win to Fernando Alonso and Charles Leclerc’s collision at the Belgian Grand Prix—drives the same emotional intensity. - In “Downforce,” Michael Kagan Channels the Aerodynamics of F1 Through Collage - via Surface
"So much of our world is fast-paced, and my jobs have always been that way, too," Walbridge said. "So being able to slow down and really take time to savor the details makes a huge difference. You don't see amazing things with a quick glance. You have to take the time to watch. And that's what I'm hoping to invite people to do with my collages as well. Take time to savor the details." - Duluth artist pivots from canvas bags to fabric collage - via Duluth News Tribune
n the upstairs gallery, visionary American artist Pindell’s work reflects her time living in Japan and India, with collages hanging across from ancient South Asian miniature paintings and a pair of Edo-era screens bisecting the room. Selfishly, her 1984 collage “Autobiography: India (Lakshmi)” caught my eye, transforming my namesake — whose mainstream iconography drips with thinly veiled colorism and casteism — into a prism through which to refract the myth of a single, fixed South Asian art history. - Unlearning the Myths of Asian Art History - via Hyperallergic
PCC
A selection of challenge submissions from last week is up on our website and can be seen here, the image prompt for next week is available to download here
Our 2025 Workbook is out and available for sale on our website. Our weekly creative challenge remains free and open to everyone and everything, digital or analog artists, French or not. The workbook is an optional add-on for those who prefer to work with paper and don’t want to print our images themselves. Like every year, the book is designed so that you can either take it apart or create your collages in the book itself. Week numbers and image sources are on the back of each image, so even if your books falls apart at one point, you will always know what’s what!
And last but not least, have a look at our second Instagram account Paris Collage Collective Unlimited where we showcase collages that have absolutely nothing to do with our weekly creative challenge.
If you have any news about exhibitions, publications or events you want so share with the community, please send an email with all relevant information and at least one link to a website or venue to: hello@pariscollagecollective.com