a non-profit organization dedicated to the study and appreciation of collage and its related forms

Who We Are

The International Collage Center (ICC) is dedicated to the study and appreciation of Collage and its related forms, from Modernism to the digital age. Through our permanent lending and research collection and varied programming we promote community and scholarship within the field and consider the role of Collage within a larger cultural dialogue.

The ICC collection explores vital links between historical and contemporary practices, establishing a narrative of Collage as both an aesthetic and cultural model. We also maintain a comprehensive archive of reference materials. These resources are established through generous gifts from artists, estates, collectors and arts professionals.

In partnership with leading experts and other institutions, the ICC produces diverse public programs, exhibitions and publications. These initiatives highlight Collage’s rich history and its evolution in a technologically driven future.

ICC Collection Studio Focus

International Collage Center Studio Focus: Karen Shaw

We invite you to explore interviews and articles on artists included in the ICC Collection.

2013
October: Karen Shaw
September: Adam King
July: Aaron Wexler
June: Selena Kimball

Events, Projects & Collaborations

News on upcoming events, including info on Constructive Conversation, a new ongoing series of panel discussions organized by the ICC in partnership with leading cultural institutions and our collaboration with Bucknell University.

View events, projects & collaborations here

Press

Remix: Selections from the ICC at the Ewing Gallery of Art and Architecture
Knoxville, Tennessee

We are delighted to announce the next edition in the national touring exhibition Remix at the Ewing Gallery of Art and Architecture, University of Tennessee, Knoxville. Remix presents the work of over 100 artists drawn from the ICC's permanent lending and research collection alongside further loans from prominent artists.

Remix weaves the narrative of collage through the history of modern and contemporary art. Coined in the early 20th century from the French word coller, meaning to glue or stick, the term collage originally described a revolutionary method of art-making. Over time its definition has expanded to represent an approach to and perception of the modern world. The 100 artists featured in the exhibition utilize collage's core conceptual traits—heterogeneity, fragmentation and appropriation—to address with clarity and immediacy the circumstances of their times. Remix explores the impact of collage on artistic and cultural expression and gathers together the diverse fragments of a rich artistic tradition.

Fashioning Personae: A Conversation About Collage, Gender and Feminism

October 26, 2:00–3:00pm

Saturday, October 26, 2:00–3:00pm the first event in the "Constructive Conversation" series in partner with other cultural institutions. The Sackler Center for Feminist Art and International Collage Center present a panel discussion "Fashioning Personae: A Conversation About Collage, Gender and Feminism" with panelists Colette, Genesis Breyer, P-Orridge and K8 Hardy, moderated by scholar Judith Rodenbeck at the Brooklyn Museum Sackler Center for Feminist Art.

Remix: Selections from the ICC at the Katonah Museum of Art
Katonah, New York

June 30 – October 13, 2012

Public opening: June 30, Sunday
1pm Tour with exhibition curators Pavel Zoubok and Rachael Lawe

We are delighted to announce the next edition in the national touring exhibition Remix at the Katonah Museum of Art opening June 30th. Remix presents the work of over 100 artists drawn from the ICC's permanent lending and research collection alongside further loans from prominent artists.

Remix weaves the narrative of collage through the history of modern and contemporary art. Coined in the early 20th century from the French word coller, meaning to glue or stick, the term collage originally described a revolutionary method of art-making. Over time its definition has expanded to represent an approach to and perception of the modern world. The 100 artists featured in the exhibition utilize collage’s core conceptual traits—heterogeneity, fragmentation and appropriation—to address with clarity and immediacy the circumstances of their times. Remix explores the impact of collage on artistic and cultural expression and gathers together the diverse fragments of a rich artistic tradition.

Daum Museum of Contemporary Art

Remix: Summer events at the Katonah Museum of Art

Artist List

John Ashbery, (b.1927)
Michel Alexis, (b.1960)
Ralph Arnold, (1928–2006)
Nora Aslan, (b.1937)
Alice Attie, (b.1950)
Sarah G. Austin, (1935–1994)
Radcliffe Bailey, (b.1968)
Nancy Baker, (b.1951)
Hannelore Baron, (1926-1987)
Andreas Bauer, (b.1981)
Romare Bearden, (1911-1988)
Barton Lidicé Beneš, (1942–2012)
Andrew Benson, (b.1979)
Mieczyslaw Berman, (1903–1975)
Varujan Boghosian, (b.1926)
Andras Böröcz, (b.1956)
Joe Brainard, (1942–1994)
Milton W. Brown, (1911–1998)
Brad Brown, (b.1965)
Thomas Campbell, (b.1969)
Joel Carreiro, (b.1949)
Nick Cave, (b.1959)
Buster Cleveland, (1943–1998)
Colette
Felipe Jesus Consalvos, (c.1891–1960s)
Michael Cooper, (1949–2010)
Chris Corales, (b.1969)
Joseph Cornell, (1903–1972)
Robert Courtright, (b.1926)
Matthew Cusick, (b.1970)
Kate Davis, (b.1960)
Dominick Di Meo, (b.1927)
Josh Dorman, (b.1966)
Mary Beth Edelson, (b.1933)
Ron Ehrlich, (b.1954)
John Evans, (b.1932)
Tony Fitzpatrick, (b.1958)
Robert Forman, (b.1953)
Adam Fowler, (b.1979)
John Fraser, (b.1952)
Nobu Fukui, (b.1942)
James Garrett Faulkner, (1933–2010)
Vanessa German, (b.1976)
Andrew Ginzel, (b.1954)
Chambliss Giobbi, (b.1963)
Max Greis, (1981)
Al Hansen, (1927-1995)
Geoffrey Hendricks, (b.1931)
Addie Herder, (1920–2009)
Clinton Hill, (1922–2003)
Lisa Hoke, (b.1952)
Ashkan Honarvar, (b.1980)
Jess, (1923–2004)
Jerry Jofen, (1925–1993)
Ray Johnson, (1927–1995)
Don Joint, (b.1956)
Károly Keserü, (b.1962)
Ken Kewley, (b.1953)
Selena Kimball, (b.1973)
Adam King, (b. 1971)
Alison Knowles, (b.1933)
Jiří Kolář, (1914-2002)
Kühne and Klein b. 1962, (b. 1956)
Thomas Lanigan-Schmidt, (b.1948)
Ellen Lanyon, (b.1926)
Justin Lieberman, (b.1977)
Elaine Lustig Cohen, (b.1927)
Janet Malcolm, (b.1934)
Charles Marsh, (1944-2000)
Ruth Marten, (b.1949)
Lloyd Martin, (b.1957)
D.E. May, (b.1952)
John McCluskey, (b.1952)
Richard Meier, (b.1934)
Rosa Menkman, (b.1983)
Salvatore Meo, (1914–2004)
Melissa Meyer (b.1949)
Dan Mills, (b.1956)
Takeshi Murata, (b.1974)
Mark Napier, (b.1961)
Mario Naves, (b.1961)
Robert Nickle, (1919–1980)
Larissa Nowicki, (b.1971)
John O'Reilly, (b.1930)
Michael Oatman, (b.1964)
Robert Ohnigian, (b.1947)
Stas Orlovski, (b.1969)
Judy Pfaff, (b.1946)
Javier Piñón, (b.1970)
David Poppie, (b.1969)
Mac Premo, (b.1973)
Antonio Puleo, (b.1976)
Hilla Rebay, (1890–1967)
Miriam Schapiro, (b.1923)
Raven Schlossberg, (b.1973)
Carolee Schneemann, (b.1939)
Holli Schorno, (b.1964)
Kurt Schwitters, (1887-1948)
Andreas Senser, (1942–1989)
Donna Sharrett, (b.1958)
Karen Shaw, (b.1942)
Ann Shostrom, (b.1952)
Fran Siegel, (b.1960)
Berty Skuber, (b.1941)
Gail Skudera, (b.1952)
Sally Smart, (b.1960)
Al Souza, (b.1944)
John Sparagana, (b.1958)
Vivian Springford, (1914–2003)
William Steiger, (b.1962)
Oriane Stender, (b.1960)
John Stezaker, (b.1949)
Maritta Tapanainen, (b.1956)
Lane Twitchell, (b.1967)
Carlos Vega, (b.1963)
Bradley Wester, (b.1955)
Aaron Wexler, (b.1974)
Jane Wilbraham, (b.1967)
May Wilson, (1905–1986)
Rhonda Zwillinger, (b.1950)

Press Release

“Remix” co-curated by Founder & Artistic Director Pavel Zoubok and Director Rachael Lawe features selections from the ICC’s permanent collection and loans from prominent artists and collectors.

The narrative of Collage is woven through the history of modern and contemporary art. It is an expansive and encyclopedic concept with its own unique lexicon of forms and values. The ICC Collection gathers together the diverse fragments of this rich artistic tradition to create vital links between historical and contemporary practices, to “remix” the narrative of Collage.

With a varied history that reaches back through centuries of artistic expression, it was within the twentieth century that Collage emerged as a major force through a range of artistic movements. The term developed from the French word coller meaning to glue or stick, with Picasso and Braque using the term papier collé to describe a revolutionary approach to art making. This is the narrowest definition of the term, which quickly expanded to include diverse practices such as Assemblage and Photomontage. Over time these terms came to signify much more than a simple art technique, but represented an approach, philosophy and perception of the modern world.

Collage’s lexicon was also inextricably bound to the concept of the Avant-garde, beginning with Cubism, Constructivism, Dada and Surrealism. Collage continued to be a core catalyst in later art movements including Abstract Expressionism, Pop Art and Fluxus. Modernity was characterized by a shift and reappraisal of the boundaries between life and art; Collage was a vital part of this process, it included a vast array of materials from the quotidian to the precious and subjects both universal and personal. Collage conveyed immediacy and intimacy both in its production and in the viewer’s response. Found images and objects, culled from daily life, were recast and reimagined in singular works of art. “Remix” reinvigorates this legacy by exerting the relevance of Collage as a philosophy to comprehend the layered experience that characterizes contemporary society.

“Remix” explores many of the dominant themes of Collage and mixed-media, including; the long-standing relationship between Collage and Poetry, the use of Collage as an extension of painting both in figuration and abstraction, Collage as a form of cultural, social and political resistance and Collage as an expression of the diaristic and archival impulse. Materials and process have always played a central role in Collage. Artists employ all manner of printed ephemera to explore a broad range of subjects such as mapping, commercial culture, appropriation and technology. Equally important is the question of scale, with many artists challenging the spatial and material boundaries of this traditionally intimate art form.

The visual culture of Collage is more relevant today than ever, asserting itself not only as a rich formal language, but also as a mode of perception. Fragmentation, fracture, sampling, appropriation, hybrids, and layering are all fundamental concepts that define the field of Collage. These terms have become a fundamental part of our collective consciousness, particularly in the ever-expanding realm of Cyberspace, which is rapidly asserting itself as the newest frontier in Collage. The vital links between the historical past and our technology-driven present are central to the ICC’s mission and to the spirit of this exhibition.

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The generous support of individuals like YOU will ensure the success of this unique cultural resource. Email us to make your tax-deductible contribution today!

The ICC gratefully acknowledges the following individuals and organizations, for their generous support. View list

The International Collage Center is a 501(c)(3) non-profit organization. All donations are tax deductible to the fullest extent of the law.

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Founder &
Artistic Director

Pavel Zoubok
pzoubok@internationalcollage.org

Director

Rachael Lawe
rlawe@internationalcollage.org

Board of Directors

  • Alexandra Anderson-Spivy
  • Brice Brown
  • Marina Forstmann-Day
  • Pavel Zoubok

Advisory Board

  • Philip E. Aarons &
    Shelley Fox Aarons
  • George Adams
  • Andrew Arnot
  • Alice Attie
  • Adam Baumgold
  • Adam Boxer
  • Eric Brown
  • John Corbett
  • Beth Rudin DeWoody
  • Jim Dempsey
  • Michael Duncan
  • JoAnn Gonzalez Hickey
  • Arturo Herrera
  • Charlotta Kotik
  • Rudolf E. Kuenzli
  • Thomas Lanigan-Schmidt
  • Gracie Mansion
  • Francis M. Naumann
  • Michael Oatman
  • Judy Pfaff
  • Javier Piñón
  • Mary Angela Schroth
  • Charles Stuckey
  • Sur Rodney Sur
  • Mark Wagner
  • C.K. Wilde
  • Scott Zieher