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Summary
Harold Town and the Art of Collage:
On Music Behind, 1958-59
by Denise Leclerc
Article en français
Page 1
Collage as a refined art form was not widely seen in Canada until the mid-fifties,
and its appearance was due primarily to the efforts of Harold Town, whose
body of work in collage soon became very impressive. The Cubist tradition
can clearly be seen in his paintings at the beginning of the decade, but
he interpreted Cubism along expressionist lines, setting himself the task
of working out its logical implications. The single autographic prints
that followed brought Town artistic recognition. These works were created
by assembling a group of heterogeneous elements in a set composition
before using them in the printing process. The artist then combined this
procedure with that of collage, forming an interacting pair that yielded
a matrix with an infinite number of combinations.
Music Behind (1958-59), which
followed a series of collages inspired by the Royal Ontario Museum's
vast archeological holdings, has less in common with the European tradition of
pasted paper than with American works of the same period, such
as the "combines" of Robert Rauschenberg and particularly Red (1955),
primarily because of sections that stand out in low relief. The main objects
protruding from Town's collage are the back panel of a television set made
of masonite and a plastic shield for the tube. The artists were challenging
the role of the support in this type of work: instead of a canvas, Rauschenberg
used real objects such as a bedsheet and quilt, and Town makes the masonite
back panel act as a double for the support of the same material.
Certain disturbing elements, such as
the danger (only apparent, of course) of the back panel coming unstuck,
or the razor blade located near the centre of the work, bring to mind the
cutting operations that are basic to the production of any collage. It
is revealing that the artist thought of the television component not as
an object recovered from the scrap heap but as a scalp or trophy of war.
The presence of a machine part in this collage stems from a very modern - in fact,
Dadaist - idea and encourages reflection on the artist's fascination
with the complexity and miniaturization of machinery, which may be similar
to the difficulties innate in art.
Music Behind is, however, closer to the spirit of the Neo-Dadaist
movement that developed at the end of the 1950s than it is to American
Abstract Expressionism, which had a greater influence on the other artists
of the Painters Eleven, of which Harold Town was a member. In Music Behind, there is the same propensity for mixed art forms characteristic
of Neo-Dadaist works, which became more relevant in Toronto in the early
1960s. Lastly, through its sensitivity, Music Behind indicates
a tension between two poles of artistic attraction. Despite the fascination
that New York held for this generation of Canadian artists in terms of
innovation, the European schools still exerted a strong pull when it came
to more conventional values.
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