The William Benton Museum of Art held a two-part interactive workshop on collages, from 12:30-1:30 p.m. on Friday, Nov. 15. Curator and Academic Liaison Amanda Douberley hosted the event alongside one of The Benton’s interns. The point of the workshop was to get attendees to think about different methods of collage in art and in everyday life. When we think of collages and collaging, many immediately go to cutting out magazines and putting together scraps in a way that speaks to them. Collaging, though, can be many things.
For the first part of the workshop, attendees walked around the front room of The Benton to look at three different collages they had displayed. The first piece was by artist Paul Scott, a pearlware platter that had transferware, which allows for printing designs of the typical blue and white patterns we think of in traditional American tableware. The platter was broken and put back together using a technique called kintsugi, which is a Japanese art method of putting together broken ceramics with gold resin or lacquer to hold the pieces together (Chanel Miller’s memoir “Know My Name” uses this technique on its cover). The piece is titled “Fracked” and it’s a part of a series called “New American Scenery.” This isn’t an immediate thought when it comes to collaging, but it does involve combining pieces together to make a new piece.
The next piece is one you’ve probably seen if you’ve been to The Benton as it’s been on display for a while now. It’s a welded steel sculpture by artist Melvin Edwards titled “Restless.” This was another piece that got us thinking about different ways art can be collaged. In this scenario Edwards used many different pieces of material and put them together to create the final piece.
The last piece is called “Mother India” by Sukanya Rahman. This is a mixed media collage displayed in a shadow box and looks like what most people picture a collage to be. It’s layered with different prints and paper, some Indian imagery but also a photo of Queen Elizabeth II, possibly to reflect the relationship England has had with India. She also included a 3D Santa, the inclusion of which is up to interpretation.
The second part was the interactive portion. Attendees were brought to the education center, and everyone was able to create their own collage. Now, these were typical collages with magazines and textured papers, as The Benton probably isn’t allowed to break plates or bring in scrap metal for its guests. There were a few example collages that were more self-portrait-like, but everyone was allowed to experiment and do whatever they wanted to.
Each of the pieces shown in the first part are currently on display at the Benton, along with many others. You can also explore the museum’s pieces at the Benton’s online art collection. They have three current exhibits: David LaChapelle’s “All of a Sudden” on display until Dec. 15, Yishai Jusidman’s “Prussian Blue” also on display until Dec. 15, and “Encounters with the Collection: Art and Human Rights” on display until July 28, 2025. To get more information visit the Benton’s website.
The workshop at The Benton beautifully showcased the diverse art of collaging, blending tradition, creativity, and interaction—an inspiring experience for all art enthusiasts!