The movement of the images

This fixing is articulated around the question of the cinema and sound inflence on the modern art and contemporary.
The cinema cannot be thought without passing by the techniques of the assembly, assembly.
Part of the exposure is of aillor devoted to the assembly.

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collage cubists of Directs or Picasso, surrealist max Ernst or Man Ray, the pop assemblies of Martial Raysse or James Rosenquist arrange a multiplicity of images or fragments of images in a single sequence: they gather in simultaneity what the ordinary experiment of the cinema deploys in the succession. The visual arts produce a static equivalent of dynamics and sequence of the cinematographic plans......continuation

Since 1953, with the return of a voyage in Europe and North Africa, Rauschenberg works with the series of Red Paintings considered as the first outlines of Combines: abstract assemblies of various types of materials covered with painting according to a method of combination of disparate topics, whose majority of the reasons will take place in its iconographic register definitively. Without any hierarchy are thus mixed found objects, images of the popular culture and media, references to the masterpieces of the history of art and mythology and elements more strictly typographical. It is as from this same year that Robert Rauschenberg employs the term “Combines” to indicate this series of works in which it integrates images and objects of the real world into abstracted painting, abolishing kind the borders between painting and sculpture.