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Jim Jarmusch gets dark: Indie filmmaker reveals his latest artistic turn in L.A. show

BBG News

Jim Jarmusch continuously explores the art of collage-making. This esteemed independent film director, who is recognized for films like the Cannes Grand Prix winner “Broken Flowers” and “Stranger Than Paradise,” has been experimenting with this artistic medium for many years, accumulating numerous pieces over the decades.

For Jarmusch, crafting collages feels like a necessary escape and a moment for introspection. He hunts through newspapers for expressions, rips them out manually, then adheres them to minimalist, solid-hued backdrops. Initially, he didn’t envision anyone else viewing these creations; however, in 2021, his artistic breakthrough occurred with a gallery exhibition titled “Some Collages” at James Fuentes in New York City. This event was accompanied by the release of a book bearing the same name, published by Anthology.

After that point, Jarmusch has continued to explore the art sphere more deeply. Alongside his producer and composer Carter Logan, their band Sqürl developed a fresh score for a rejuvenated set of Man Ray’s avant-garde short films, unveiling “Music for Man Ray” in May. In November, Jarmusch expanded his versatile skillset by taking on the role of curator: To mark the centennial of Surrealism, he handpicked 34 images from the Grand Palais’ collection to showcase at Paris Photo, a prestigious photography art fair renowned globally.

Jarmusch has persistently employed the technique of collaging in recent years, giving his work a more somber hue – both thematically and visually, as he now adheres his intricate creations onto black backgrounds instead of the once-used warm manila ones. These pieces have been showcased at art events in France, Hong Kong, and Los Angeles. His upcoming second formal exhibition, titled “Some More Collages,” is set to debut on March 29 at the James Fuentes gallery in Los Angeles, with a book signing accompanying it. We had the opportunity to chat with Jarmusch about his collage methodology, Surrealism, and his artistic journey ahead.

The following Q&A has been edited for clarity.

Have you put together an exhibition on multiple occasions, making it two shows under your belt? Does that make you feel like you’ve truly established yourself within the realm of the arts?

As a connoisseur of diverse artistic realms, I’ve traversed various creative universes. From the pulsating rhythm of rock ‘n’ roll clubs in my youth, to the vibrant pulse of hip-hop culture, and ultimately into the captivating realm of cinema. Growing up alongside numerous talented artists has placed me within these worlds, albeit not as a direct participant.

What encouraged you to do another collage exhibition?

In my own words, my debut book titled “Some Collages” came to life through collaboration with Arielle de Saint Phalle and Anthology’s team who published it. Initially, I hadn’t anticipated creating a book or exhibit, but Arielle’s encouragement during the pandemic sparked this project. For quite some time, I’ve been crafting these minimal newsprint collages as a form of escape, an outlet for automatic writing, and reusing visual elements. I was yearning for a fresh exhibition and perhaps another compact book. My earlier work focused on reappropriation and substitution, particularly heads. The recent pieces I’ve developed over the past year carry a more subdued tone and feature removal with black residue. They offer a unique vibe. However, I refrain from dissecting their meanings. They simply exist as they are. Additionally, some lithographs will be showcased in this exhibit.

Why did they get more somber? Are you affected by the state of the world?

It’s certain that they have an impact, but they are more instinctively designed than carefully thought out. I tend to avoid pondering them too much during creation as they seem to originate from a source beyond conscious analysis. When my first exhibition was unveiled, if the collages appeared overtly political or preachy in some manner, I would take them out. I aimed to keep things subtle rather than making anything too obvious.

Why are all the faces removed?

As a movie connoisseur, I’ve always been captivated by hidden contrasts that subtly enrich narratives. Decades ago, I delved into the life of William Burroughs through Howard Brookner’s film, “Burroughs,” produced in the late ’70s. I had the privilege of spending extensive time with him, over a year’s worth, and often found myself engrossed as he worked on his scrapbooks filled with cut-ups from various newspapers, magazines, and sources. Burroughs had an uncanny knack for discovering these seemingly unrelated juxtapositions, which left a lasting impression on me and continue to inspire my own approach to storytelling.

I’ve had a lifelong affection for Surrealism. What draws me to it is the defiance of rationality, the absurdity that feels like playing with masks. When I manipulate the heads in my work, it’s similar to handling these masks. However, when I remove the heads from my recent creations, they seem more potent. Strangely enough, I appreciate my latest exhibition more than my earlier one, but I don’t dwell on the past. After my films are screened, reach an audience, and are distributed, I no longer revisit them.

There’s just one collage in the show that has faces in it. Could you talk more about that work?

This unknown entity managed to slip into the performance, potentially serving as a small hint for the upcoming season. The text accompanying the image suggests that the two figures depicted are possibly billionaire, AI pioneers. Admittedly, their significance remains unclear to me. As e.e. cummings once said, understanding a poem isn’t solely about comprehending its meaning; it might also apply to all my work here.

Are you tearing out the faces with your hands, or are you using a tool?

My compact set of essentials, small enough for a briefcase, includes tweezers, various backdrops suitable for different projects, and pen-like cutting tools, which are typically ballpoint pens that no longer function due to empty ink cartridges.

What materials do you use?

I’m particularly fond of newspapers, as they remind me of a memorable experience from my childhood. When I was quite young, my parents surprised me with a microscope, and the very first thing I examined under it was the torn edge of a newspaper. It looked like a bustling jungle, filled with tiny threads. The sight left a lasting impression on me, and I can still recall it vividly. The delicate texture of newsprint continues to captivate me in a tactile sense.

Where are you sourcing the newspapers?

For a period, I’ve been gathering news not just from The New York Times, but also from various sources. Previously, I was collecting some articles solely from Chinese newspapers I found in Chinatown. The concept of challenging conventional ideas about information and creating something unique appeals to me.

What attracts you to this minimalist, highly edited approach?

As a film enthusiast and creative soul, I’m captivated by the concept of reappropriating elements from different sources to craft something entirely new – be it in the realms of sampling and hip-hop, or certain styles of poetry that incorporate game structures. I’ve always been intrigued by the art of deconstruction and reconstruction, as exemplified by numerous artists I admire such as Bruce Conner, Richard Prince, Ray Johnson, John Baldessari, and David Wojnarowicz, whose works often feature ‘head removals and replacements.’

As I was looking through your collection, I noticed one of the prints seems to be inspired by Picasso’s renowned work, “Les Demoiselles d’Avignon.” Would you mind sharing some insights about this particular piece and its connection to the original?

Many of my works often draw inspiration from the realm of art. My book includes a nod to Frank Stella, and there are several references to Warhol in various pieces. I incorporate artistic imagery into my work, only to subsequently alter or distort them. While I hold Picasso in high regard for his contributions to art, I find him somewhat self-centered as an artist, but one of his paintings is truly captivatingly beautiful.

To expand the small newspaper collages into larger images, I decided to produce lithographs. The original miniatures are on display in L.A., and following that, you can view the enlarged lithographs, which are essentially replicas of the collages but with a unique technique by Maurice Sanchez at Derriere L’Etoile Studios. He recreates the collages onto black backgrounds in a manner similar to my own work. Maurice produces these lithographs in Long Island City, a place frequented by virtually every renowned artist.

Each collage made from newsprint is unique and quite fragile, being rather small in size. You won’t find duplicates for any of these pieces. A thought I’ve had recently is to create a limited number of larger versions, which could potentially be replicated.

Are there any Surrealists or Dadaists who really inspire you in particular?

Among collage artists, Max Ernst is my personal favorite. A comprehensive retrospective of Surrealism, featuring works by Max Ernst, was exhibited at the Pompidou Center not too long ago. The initial Max Ernst collages were sourced from catalogs, and an entire wall was dedicated to them. This assemblage evokes a surreal dreamscape. By subtly disorienting the expected logic of things, you create a sense of intrigue. I find joy in recurring patterns and unanticipated links.

Do the themes in your collages reoccur in your poetry, music or films?

In my creative process, themes aren’t something I consciously focus on when writing scripts or composing music. Instead, I begin by developing characters and actors, collecting snippets of dialogue, small ideas, and locations over an extended period – sometimes even years. When the time comes, I write the script quickly. This method is also applied to my music, as structure isn’t something I’ve been formally trained in. I often create tracks, for instance, a psychedelic guitar piece, then lay another track without prior listening and observe how they evolve together. The alignment or departure of structure becomes apparent over time. My work seems to share a common element, and the collages serve as the most condensed representation of my approach.

What’s the plan for the new collages?

I’m eager to create a fresh piece of literature. The main difference this time around would be fewer collages in the composition compared to my previous work.

Anything else you’d like to share?

I don’t have a preference for high or low art; instead, I consider myself a versatile enthusiast. To me, labels like ‘high art’ or ‘low art’ hold no significance. What draws me to collages is their accessibility. They can range from simple to complex, and I appreciate them regardless of their complexity or obscurity. I find the collage form to be incredibly universal because it allows people of all ages and backgrounds to participate in its creation, as I’ve experienced when making collages with children – we are all engaged in the same creative process.

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2025-03-28 13:31

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