{ "objects" : [ { "embark_ID" : 5177, "URL" : "https://artmuseum-collection.usu.edu/Objects-1/info/5177", "Disp_Access_No" : "2011.89", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "Mas Fina Como La Gallina", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Christopher Hill", "Sort_Artist" : "Hill, Charles Christopher", "Disp_Dimen" : "55 x 73 x 2.75 in.", "Disp_Height" : "55 in.", "Disp_Width" : "73 in.", "Dimen_Extent" : "", "Medium" : "Linen, cheese-cloth, paper", "Support" : "", "Disp_Medium" : "Linen, cheese-cloth, paper", "Info_Page_Comm" : "A worn patchwork of seemingly random fabrics in colors of brown, white, beige, and pink. These random fabrics are hand-stiched together with black thread in various, organic lines going in all directions. Some of the materials on this piece include cheese-cloth, linen, and solid brown packing paper. It has a highly distressed and worn appearance with various rips and holes. Issues with this work's frame has caused the plexi glaze to be prone to slipping. Prior to on-site work completed by conservator, Kim Collins-Peynaud (Salt Lake City, Utah) 12/2019, this piece's plexi drooped out of place/rested concave within the frame. The plexi was pulled out and up back into place during this work using suction cup handles. Prior to 12/2019, the piece had been stored flat- perhaps causing/exaserbating slippage of the plexi. It was noted 03/2019 that the plexi is beginning to slip slightly down with gravity while on display. Note: It is recommended that the piece remain hung/upright in storage. The plexi may continue to slip down and can accordingly be adjusted back upward with suction cups. Note: Because of how the frame is made, removal / adjustment of the piece itself can only be accomplished if the frame is permanently disassembled.", "Dedication" : "Gift of the Kathryn C. Wanlass Foundation", "Copyright_Type" : "", "Disp_Obj_Type" : "Textile", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "Linen and other fabrics", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "<SPAN STYLE="font-family:''Calibri'';font-size:11pt">Throughout the 1970s, Charles Christopher Hill engaged himself fully in Process Art, where the time spent making a work of art is often as important, if not more so, than the end product itself. Especially attracted to used paper because it was free and readily available, Hill developed his own approach to making large scale collages by sewing together assorted types of paper, including rag, newsprint, construction paper, and crepe paper. To ensure firmness and durability, he also incorporated fabrics such as the linen and cheese cloth employed in this work.<BR/>Hill began each collage by working from both sides, and then developed a composition further on the side that pleased him most aesthetically. The final stages in Hill''s creative process involved a sequence of deconstruction and reconstruction. As a metaphor for the decaying and forgotten artworks by little known artists that he saw on frequent visits to small museums in Europe, Hill put each collage through a kind of durability test. Characteristically, he buried the collage in the ground and then recovered and restored it, repeating the cycle as many as three or four times.<BR/>According to Hill, the title was inspired by the reaction to the work by a Cuban friend who said that it was "mas fina como la mierda de una gallina," which translates roughly "finer than chicken dung." (Written by David S. Rubin, independent curator)<BR/></SPAN>", "Images": [ { "ImagePath" : "https://artmuseum-collection.usu.edu/Media/images/2011.89.jpg", "ThumbnailPath" : "https://artmuseum-collection.usu.edu/Media/Thumbnails/2011.89.jpg", "PreviewPath" : "https://artmuseum-collection.usu.edu/Media/Previews/2011.89.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2011.89.jpg", "IsPrimary" : "1", "_SurrogateID" : "3814", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }