Art collage Assembly

Galerie Art collage montage

2011-12-02T12:55:00.000-08:00

New Gallery

Patick Turk Collage in the Gallery Artpjm

2011-10-12T12:40:00.000-07:00

Collage artist living and working in Houston Texas. Sensation of soft forms suspended in the space.

Patrick Turk is a self-trained Houston-based artist from Galveston, Texas. His works have been exhibited throughout Houston in galleries including Art Storm, Lawndale Art Center and Rudolph/Projects/Art Scan as well as galleries in Galveston, Texas and Los Angeles, California. His works have been published several times in Mung Being Magazine and include high profile commissions for the 2009 Houston Art Car Parade Poster as well as the Philokalia album cover by Golden Cities

See Patrick Turk in galerie Artpjm

2011-08-19T12:07:00.000-07:00

Video art collage Daily motion

The art of the collage is a technique of artistic creation which consists in organizing a plastic creation (fresco for example) not according to the laws of the representation but by the combination(overall) of separate elements of all kinds and any logic (extracted from newspapers, wallpaper, documents

Art du collage par rikiai

Léna Wolff collage

2011-05-18T00:43:00.000-07:00

Lena Wolff is an interdisciplinary artist who works in drawing, painting, collage and public projects. She received a BA in English and Creative Writing from Mills College and an MFA in Printmaking from San Francisco State University (2003). Her work has been shown at the Legion of Honor Museum, Headlands Center for the Arts, Southern Exposure, The Lab, Traywick Contemporary, Needles and Pens, New Image Arts and Space 1026, among others. She is a recipient of an artist grant from the John Anson Kittredge Fund and has attended residencies at the Lab, Hall Farm Center for Arts and Education, and Blue Mountain Center in upstate New York. In 2009, she was commissioned to create new work for both the San Francisco and Alameda County Arts Commissions.

See works in Gallery Artpjm

Wolff is currently organizing The Paper Quilt Project: Collaborations in Contemporary Craft, an artist collaboration and exhibition that will be exhibited at Berkeley Art Center in 2011. She is a member of the Drawing Center’s Viewing Program in New York and is represented by Traywick Contemporary.

Lena Wolff lives with her partner, artist and teacher, Miriam Klein Stahl and their daughter in Berkeley, California.

Karl Waldmann collage

2011-05-09T23:48:00.000-07:00

In the middle of the room, there is a jazz player. Next to him there is the body of a naked woman; she wears an African mask (Dan mask, Ivory Coast). Next to the bed in the room, there is a huge wine grape on a chair. At the centre of the room, a huge hand seems to hold the trumpet.

Despite the fact that Karl Waldmann disappeared in the 1950’s, his work was discovered only just recently, at the end of the 1980’s. His pieces impose themselves immediately with great force and beauty but also with a certain singularity : between Dada and Constructivism, his place in history of Art seems particular ; singularity also due to the fact that his work is essentially composed of a marginal form of expression : collage.

This book, the first devoted to his work, presents a serie of studies which question the originality of his work, his relationship to history of Art, his thematic and formal choices, but which also underline the questions that this work arises around the notion of authorship, of the relationship of Art with History and Politics, of aesthetic judgement, of art philosophy and of the image. Through all of these aspects, the work of this previously unknown artist appears to be surprisingly relevant to present questionning around Art and aesthetic philosophy.

Rauzier Jean François Hyperphoto Gallery Bailly Paris

2011-04-14T12:43:00.000-07:00

French artist, been born in 1952.

Fascinated since the childhood by the photography, Jean-François Rauzier integrates the National Louis Lumière school in 1976. For 30 years, he investigates various fields of the plastic arts: paint, sculpture, asphalt … Enriched by the grammar of the advertising photography which he(it) exercises, precursor of the digital assembly, he(it) invents the concept 'Hyperphoto' which is going to allow him(her) to succeed in its approach(initiative). Prize-winner of the prices Screenings of Berlin in 2006, Arcimboldo for the digital creation in 2008, APPPF in 2009, he exposes all over the world: New York, London, Los Angeles, Paris or Seoul …

Seen Hyperphoto

Fillot Emmanuel Gallery Mordoch in Paris

2011-04-14T02:37:00.000-07:00

Collage Assembly

His works are collages, wooden assemblies, found on seaside, stones chosen, shells, glass fix a moment. he set is a meeting with a place, a geography which connects macrocosm and microcosm.

In galerie ArtPjm

Gallery Art collage Assembly

2011-03-22T00:46:00.000-07:00

Welcome in the virtual presentation of the gallery Art Concept where you can discover the last creations and artists demonstrations, With commentaries on pictures, biographies.

Last artists : Lecointre jean Perter Lewis

Erotic and sex collage Stephanus - Debra Hampton

Portrait collage de Debra Hampton

2011-01-24T09:41:00.000-08:00

Debra Hampton was born and raised in the suburbs of Los Angeles, California.

She began a diverse art education in the studio department of CSLA, later transferring to CSUF to complete a Bachelor of Arts degree in Art History focused on European papal portraiture and social/political murals of Latin America. Ms. Hampton moved to New York City in 1996 to obtain a Master of Art degree from New York University in Humanities and Social Thought with a certificate in Museum Studies. While at NYU, she was also an adjunct student at ITP further nurturing interests in the cross-sections of art, technology and collaborative media.

Her work has spanned various unconventional medium and process while investigating issues of commodity, identity and appropriation. She is best known for mixed-media mashup collage portraits which are created from 1000s of magazine cutouts, splattered ink, and intricately stippled shapes. Accompanying the portrait series are sculpted objects such as headdresses, talisman, and full-size armor. Recently, she was selected by the New York City Department of Transportation to design & implement a public mural spanning 600 feet of pedestian/bicycle pathways along the Brooklyn waterfront.

Ms. Hampton's work is in the collections of the Museum of Modern Art Permanent Drawing Collection, and The Frederick R. Weisman Foundation, and has been featured in publications such as ArtReview, the New York Times, New York Arts, FlavorPill, Queens Chronicle, Etapes Graphiques, and The New York Art World. She has been recipient of the Chashama AREA Studio Residency and an A.I.R. Gallery fellowship.

Represented by Priska Juschka Fine Art in New York and maintains a studio in Long Island City.

Directory art of collage assembly

2010-11-08T08:44:00.000-08:00

First Directory of sites having relationship with the art of the collage assembly or mixed technique and the digital are. 325 web sites

Many site in french language but list web in english See Diretory

ARMAN Paris Centre Pompidou september january

2010-10-08T12:11:00.000-07:00

Arman was born in Nice in New York in 2005. This retrospective offers a survey of his entire career through more than a hundred work Arman studied at the Ecole des Art Décoratifs in Nice and then at the ecole du LOuvre in Paris. He began as a painter, influenced by the abstraction then dominant in France, but rapidy turned to a form of art distinctively attuned to his own age, making use the manufactured society. With Yves Klein and Martial Raysse, he was one of the Niçois contingent of the Nouveaux Réalistes Movenment that crytallized around art critic Pierre Restany in 1960. Using rubbish, scrap and other materials, Arman made Poubelles (Trash Cans), Accumulations, Coupes (Sliced Objects), des Colères (Tantrum), Combustion Inclusion ect. reflections on mass production and invasion of environnement by garbage, but equally meditations upon time.
The idéa for Arman's first accumulation came to him in a flash as he was looking at box of valves he had collected. Boxes, pigeonholes, compartments, drawers, and the squares of the chequerboard or the game of Go (The artist being of keen player of this last were key elements not only of this artistic language but also of his personal relationship with the word. The exhibition has thus been designed on the basis of a grid visible on the floor, a materialisation of "Armanian territory" divided into seven thematic sections.
The major installations Conscious Vandalism an Day After illustrate the later development of procedures adpopted by the artist early in his career, while archive images and film document his major public actions.

1 - From the informal to the object
In 1950s Arman developed a non figurative-manner. I painting influenced by Serge Poliakoff and NIclas de Steal. After discovering the work of Hendick Nicolaas Wekmar seeing a number of painting by Jackson Pollock, and visiting the Kurt Schwitters exhibition at the Berggruen gallery in spring 1954, he have gaveup the brush for rubber stamp, imprinting the surface of paper or canvas with unpremeditated gestures and rapidly coming to adopt large formats and all-over composition. He then got to know the members of the groupe de recherches Musicales led by Pierre Schaeffer. Who had just invented ways of strechingout slowing down sounds, calling the result "Allure d'objets en musiques". Arman thus embarked on his own work on "gail" of objetcs, and not long after produced his "Colères" (Tantrums) in which the broken remains of a smashed objet were affixed to the canvas. the first time the object entered the space of the painting in 1959-60, Aramn collaborated with Jacques Brissot, a members of the GRM, to make the film Objets animés (Animated objects), based on this Allures Works but also featuring images of parts of the body and other elements from nature, skilfully cut together.

2 - The Poublelles and le Plein
Towards the end of 1959, Arman made his first, experimental Poubelle or Garbage tipping the contents of a household waste-bin into a glass box, making a number more on the same principale over the next three years. A few months later, he embarked on his series of Portraits-Robot (Profile Picture) assembling in a box articles provided by the subject . Such a protrait was no rebus or puzze, but rather an attempt to express the very essence of the person concerned. Then, i, 1960, after his friend Yves Klein's "le vide" at Iris Cler's Arman staged " the "plein" at tje same gallery filing it to the brim with rubbish and junk.
In the early 1970s, Arman discovered the technique of casting very fast-setting polymer allowing him him to embed objects on a considerably large scale. He returned to the trash Can series, this time incorporating all the garbage, enven the organic wasle. In 1972, he suggested to jean-Pierre Mirouze the idéea for Sanitation a film on the collection and handing of the garbage produced each day by the city of New York.

3 - The Critical mass of object
Arman recalled how the idea came to him for his first Accumulation, looking at the boxes of objects he had collected: "The deepest help radio valves, goden, silver, some of them black. It was full to the top. I looked at it, and I had a kind of impulse. I found a sheet of acetate, cut it to the size of the box and - bam ! bam ! bam ! - I nailed it to the edge of the box. Then I took a brush and black painted the sides of the box and about a centimetre ofacetate. I stood up straight, and there was ma first "Accumulation".

An Accumulation is a repetition in large numbers of of an object of the same type : It highlights the principle of mass production of identical objects, but also the singularity of each one, even in its similarity to the others.

Arman Thus registers industrial mass production as a new reality. The Accumulation also represents the artistic expression of a passion for collecting that the artist shared with the family of his birth.

In Accumulation naturelles, Nice 1960 a film by jean-pierre Mirouze, Arman is seen visiting garbage tips and junkyards outside Nice, in search of his favourite material : scrap.

4 - Colère and coupes
In 1961, Arman produced a first colère (Tantrum) in public, destroying Henry II style reproduction fuurniture 'Utitled, 1961). A second, NBC Rage (1961), was produced in front of NBC television news cameras. In earch case, the artist gesture was borrowed from the martial artist that he practiced and calculed to preserve in partthe indentity of the object. From 1963, Arman would conceoive spectacular Colères involving explosives . Later, on 5 April 1975, Arman carried out the action Conscious Vandalism, trashing a middle class apartment installed in the gallery space. Both vioentand sublime, the resulting environnement of broken objetcs effectes a poetic catharsis. The artist gesture itself is ambiguous, partially destroying the object and the same time perpetuating it in a new form.
With the coupe or slicing technique developed in 1961, Arman sought tograsp the internal structure of objet, which he de-structures in order to reorder its external appearance, so transforming te object - often effecting an anmorphosis in three dimensions - while alson establishing links with earlier movements, such as Cubism, constructivism, and the futurism of Boccioni and Carrà.
Jacques Brissot's Colère, 1976-2010, showw Arman making Coupes ans Colères of musical instruments.

5 - Archealogy of the Future
the use of such materials as resin and cement would allow Arman toprojectworks made from debris of various kinds. The embedding of objects in matter evokes fossils and archaelogical sites. the transparency of the resin suggests a Pompeian allegory. While the greyish blue tone of Emersions hints at contemporary ecologial disasters. Produced in parallel with there works, the combustion amso explore the sublime will to destruction. the fragility of the object captured at the moment of its perishingengages an aesthetics of ruin, invoking our relationship to time and is powerful philosophical implications. Arman thus produced in 1985 the monumental the Day After, a combustion of a whole room of furniture in the Louis XV style, cast in bronze in ecole de Nice, filmmaker Gerard Patris sets Arman's first Combustion of a piano in the contest of 1960s

6 - Arman, Renault and Industry
Collaborating with Renault, Arman was able to make works using that iconic product, the automobile. Confronted by a system of industrial production, he no longer worked with a finished object but with its elements, the parts that when assembled together go to make up a particulaly complex structure; the work with parts also accords with his long standing interest in the serial and repetitive. the result is a masterly renewal of the artistic language that has its origins in the accumulations. the works of this period the large sculptures in particular, revisiti the problem of formalism so crucial to contempory sculpture.
In carlos Vilardebo's TV documentary Accumulation d'Arman, 1969, the artist explains his approach; "at the beginning it was just a matter of making a 'peace' but other appetites were stimulated. I don't think I will work in the same way after this experience."

7 - I am a born again Painter
In 1966, Aramn made objects of paint and painting, embedding them in resin.
Twentyyears later, he would show off his genius for paint in the impressive works that marked his return to the gestural, collecting and then stamping upton a large number of tubes of paint. arman's Shooting proposes an alternative Pollock's drip-painting with another way of getting the paint onto the canvas. It Should be recalled that Aramn always kept in mind the pictorial aspect of his work, rarely straying far from the idea of the work as surface, and consistently engaging with all-over-technique and repetitive gesture of Jackson Pollock. Vincent Van Gogh remained a key reference throughout Arman's career ; the artist paid tribute to him in 1994 with his own versions of starry Night.
Filmed in Arman's studio in Vence between 1990 and 1991, jean Ferrero's Shooting painting document this period in the artist's work.

Wallace Berman

2010-10-04T12:19:00.000-07:00

Wallace Berman was born in 1926, assembler artist, filmmaker, writer, who loves the Jewish tradition of Kabbalah and publisher of the magazine fit Semira office "poet laureate" for a group without proper form, including Edward Kenholz, George Herms and John Altoon. Berman is often described as the father of the assembly.

The assembly of his group is heavily influenced by Surrealism and to a lesser degree, by the Dada movement. But the art of Berman presents a reaction against the consumer culture product series and the American obsession with novelty, as much as a personal reverie animist, seeing the divine in all things.
It does not merely use the objects found, extracts of the World non artistic Utilities everyday objects: It discovered objects unusually dilapidated, dirty, rejected, worthless - waste - whose lamentable state gives them a power aesthetic evoking the obsolescence, the ruin, history and the strange feeling that their existence seems to transcend time. Yet, and this is the irony, most of its assemblies have survived thanks to the photographic recording, but its two-dimensional collages made the Vérifax (one of the first photocopiers) are what's closest.

They involve images taken by a myriad of sources and arranged in a grid representing transistors, as described by Anne Bartlett Ayres: "The image of radios and serves as a" base "is a collage receiver deities and demons , An issuer of talismans and secret codes: Hebrew letters, crosses of all kinds, locks, keys and doors; fragments of Greek and Eastern sculptures, photographs by contemporary religious leaders appeared in newspapers; naked women, portions of bodies, heaps of 'Stars; rifles and snakes and birds and roses and mushrooms.

In its brief and intense life Berman devoted this relentless pursuit of the unspoken and yet the "unscribed." in 1957, its first and only public exhibition at the Ferus Gallery, was closed by the LAPD and Berman was arrested for displaying what was then regarded as "pornography." As a result of the indignity to which he has undergone it withdraws from the scene of public art completely. Berman abandoned Los Angeles and moved to San Francisco, returning in 1963 to Topanga Canyon where he lived and worked until his death. Berman left Los Angeles and moved to San Francisco, back in 1963 in Topanga Canyon, where he lived and worked until his death in 1976.

According to Freedom of the Centre Pompidou exhibition Los angeles 1955 - 1985

Rauschenberg Robert

2010-10-01T00:53:00.000-07:00

To make a work by need is a swindle compared to art. It seems to to me that to a large extent the urgency to be worked lies in the fact that one acts freely. To do something for which the need can be given only afterwards and which this judgement is prone to modification constantly. It is extremely important that art is justifiable. Robert Rauschenberg. After is studies of pharmacy and an engagement in the American marine during the Second World war, Rauschenberg registered in Kansas City Art Institute where it studies painting, the history of art, the composition, the sculpture, the music, the anatomy and the fashion of 1947? 1948. In 1948, it does art leave to study? Paris (? The Jullian Academy) what seems essential to him in the training of an artist. At the time, its meeting with Josef Albers will have a great influence on its tables. Later, it will meet Willem de Kooning, this meeting will be decisive for its work. In 1949 it leaves to study photography in Black Moutain College, in the North of California. It is there that it meets John Cage (type-setter) and Merce Cunningham (dancer) In 1950 it joined New York and Art Students League. It will change several times of workshop on New York before stopping in 1955 and divides then its workshop with Jasper Johns. 1951, First personal exposure to Betty Parson gallery of New York. It is the time of monochromic paintings where White Paintings Black Paintings and Red Paintings inspired by her friend John Cage who practised Buddhism. It leaves to make a stay in Europe and in North Africa in 1952 with the artist Cy Twombly, creates joinings which announce its method of combination of disparate topics whose majority of the reasons will take place in its iconographic register definitively. It is the obliteration of a drawing of Kooning into 1953 which will influence Rauschenberg deeply. It will create them? Combine Painting starting from an attempt at rewriting of art for art (by the total opening). It is estimated that it is at the origin of Pop Art `the instar of J. Johns. In 1959 it takes part in the first biennial one of Paris and will expose at Daniel Cordier. It starts to explore the technique of the transfer in its work of engraving since 1962. Its first personal exposure will take place in 1963 in Jewish Museum of New York. It receives the great price of XXXIIéme biennial of Venice in 1964. Then, in 1966, it melts them? Experiments in Art and Technology with (E.A.T.) or Rauschenberg Overseas Culture Interchanges with (R.O.C.I.) with engineer Billy Kléver. The purpose of this group is to facilitate an exchange between the artists and the engineers. What enabled him to attend the takeoff of Apollo 11 in 1969. During the following years, Rauschenberg explores the use of metal like support for painting, enamel and the screen printed images. The found images and objects return to the voyages of the artist, while polished metal surfaces reflect the immediate environment of works.

Man Ray

2010-01-19T00:59:00.000-08:00

Max Ernst

2010-01-19T00:48:00.000-08:00

Max Ernst was a painter German (or Franco-German for some) of mobility hobby-horse, surrealist then pataphysic. Max Ernst was born in Brühl, in Germany. In 1909, it starts to study philosophy at the university of Bonn, but it quickly gives up the courses to be devoted to its interest for art. In 1913, it meets Guillaume Apollinaire and Robert Delaunay and share for Paris, joining in Montparnasse of the artists coming from the four corners of the sphere. In 1918, it wife Shines Straus, historian of art. Their tumultuous relation will not hold. The following year, it returns visit to Paul Klee and creates his first paintings, impressions with the hand and joinings; it tries out various supports and materials. During the First World War, it is useful in the German army. After this one, filled of new ideas, it melts with Jean Arp and the social activist Alfred Grunwald the hobby-horse group of Cologne but two years later, in 1922, it turns over to the community of artists of Montparnasse to Paris. Testing constantly, he invents in 1925 the friction where he lets run a lead of pencil to paper on a sheet posed on an unspecified surface (parquet floor or another texture). This technique reveals more or less imaginary figures. It is connected with the automatic writing of the surrealist writers whom it côtoyait like Paul Eluard and André Breton of course. The following year, it collaborates with Joan Miro on the designs for Sergei Diaghilev. With the assistance of Miro, max Ernst launches out in the development of a new technique, scraping where it scrapes the pigment of the fabric. In addition to

The collages of Max Ernst rubbings after the World article Philippe Dagen

Max Ernst in 1925 invented "frottage" where he scribbles with a pencil and paper on a sheet placed on any surfaces (parquet or other texture). It shows figures more or less imaginary. It is not without similitide with automatic writing surrealist writers like knowing that Paul Eluard and Andre Breton. With the help of other artist, Max Ernst engages in the development of a new technique, scratching where it scrapes the pigment of the canvas.

Ay castle near Piacenza, in 1933, Max Ernst in Italy for three weeks, in a castle near Piacenza, it assembles 182 collages,

The french illustrated plates from the late nineteenth century black and white are for him as a subject inexhaustible. Iil in preparing the publication of five volumes, published from April to September 1934 editions of the gallery Jeanne Bucher.
The title of this graphic novel is A week of goodness or seven elements capital.

It is divided into days of the week, each characterized by a passion and a different element - water, air. The most bizarre dreamlike give them free rein, through symbols.

'A week of kindness is one of the major creations of surrealism. But the consultation of the original collages, it is capable of measuring the degree of control that Ernst at the art installation. They were exposed in 1936, in Madrid, at the initiative of Paul Eluard. They are finally again at the Albertina Museum in Vienna, loaned by Isidore Ducasse Foundation of New York, which houses the collection of Daniel Filipacchi. Exhaustive, introducing even a few collages that has not accepted for publication, the exhibition is a model of its kind. It opens with a sequence that leaves explanatory dreamer. The collages are presented in the company boards in which Ernst cut a naked woman, a shipwrecked, a riverside or bourgeois interior. The subtlety with which he agency images, to slide into each other and the suture is such that the eye perceives a perfect unity where there heterogeneity. Hybridization, the overthrow upside down, the breaking of scale imperceptible raise scenes where the unreal seem natural. Ernst makes the fantastic not only credible but normal.

This world in black and white live in fear and rage. The disasters are frequent, crimes too. The murderers have heads beasts and birds. The heroines are alternately threatening and overwhelmed - and mostly barren. This column fantasies and anxieties fascinates so, leaving rooms, we are all surprised that men should have the lion mufles and that Viennoises did not walk naked.

At present Exhibition Max Ernst to the Orsay Museum from June 30th till September 13th, 2009

Max Ernst, Albertina, Albertina Platz 1, Vienna. Tel.: 00-43 - (0) 1-534830. From 10 am to 18 pm; Wednesday up to 21 hours. Until April 27. € 9.50 .
Philippe Dagen

Numeric device

2010-01-07T04:30:00.000-08:00

Numeric device

It is about a grid where are placed the shots of photos settled on graves of dead persons.
These images make share some seconds with these dead strangers quite a lot of time ago and a little forgotten. The past to look at these photos is deducted and carried(worn) in the knowledge of the regardeur.
It is a number of seconds which you passed with the photo of these strangers.
The past between the recording and the moment when you see photos is also deducted.

It is a time of the photography.

Twitter Portraits Assembly, Media Network

2010-01-03T07:40:00.000-08:00

Twitters portraits are work mixedmedia in the size format A3. They are realized from photos treated with a product of transfer .In this series of users' portraits of the network Twitter I address directly to a public by showing the result of a work on the network which incorporates at the same time of its realization its own communication. Twitters portraits join a conception which allowed me to realize pictures on the other subjects. (See artistic Approach) This approach questions the idea of projection of an image of a plan in the other one and its transposition according to various representative modes about various supports. The extreme presence of the surface confers an effect with its confrontation with support.

By putting on the same plan in a picture, the language and an image I apply in the field of the art a well-tried method in the media and advertising domain.

Twitters portraits are a serial work every picture of which is a case strongly connected to the others by an identity of forms. I adopt the logic of the network which is an infinite digital production, a combination of images and diverse and often repetitive texts. As the photography which was widely used as material by the artists in the 20th century. I use the flows of information of the networks which (hypertext, video photography) remain a field to be exploited so that they become work of art.

See the pictures on flickr

Villegle Jacques

2009-10-19T12:17:00.000-07:00

Jacques Mahé de La Villeglé, says Jacques Villeglé, was born to Quimper in 1926. Member(limb) of the Movement of the New Realists, he(it) presents a step(initiative) of "collector" of torn up posters and theorist of the appropriation. Jacques Villeglé studies the paint(painting) and the drawing to the art college of Rennes where he gets acquainted of Raymond Hains ( 1945 ), to whom will bind(connect) him(it) a definitive complicity.

He works a while at an architect, where he(it) gets acquainted with the questions of town planning and public space, before studying the architecture to the art college of Nantes (in January, 1947 - in December, 1949). From 1947, he begins to harvest to Saint-Malo the fragments of the Atlantic Wall and the twisted chains, at which he considers as sculptures.

From December, 1949, he limits his(its) appropriatif behavior to the only torn up posters. For him, the real artist is " lacérateur unknown person ", the collection which can be made by whoever: he so announces the moment of the disappearance of the face(figure) of the artist, giving up the place(square) to the "collector" or the collector.

Everybody knows the posters of advertising(publicity) juxtaposed in thick and half torn up coats(layers). By presenting them, the décollagiste Jacques villeglé shows the destruction of the communication by the media of mass. The exthétique presentation(display) of the waste of a modern metropolis becomes a symbolic revolt against the increasing marketing of the townscape.

His conception of the art, the most radical of the lacérateurs of posters. He fights vehemently the concept of the original and the artistic writing. Himself(itself) declare on this matter " I distance from the action(share) to paint and to stick. Is not the not premeditation an inexhaustible source(spring) of art, and even a ripe(mature) art for the museum ? I consider as positive what leaves behind him any passer-by who tore up a poster without the slightest artistic intention " Villeglé as artist is only proceeding then to the selection and protect the poster torn up by the destruction.

Moholy Nagy

2009-10-19T12:03:00.000-07:00

Laszlo Moholy Nagy is of Hongroise origin. In, 1919 It settles in Berlin where it is interested in work of the constructivists especially that of Casimir Malevitch and El lissitsky. In 1923 it joined Bauhaus of Weimar.

Moholy Nagy is a general-purpose artist, he tries out the new techniques of photography and of the cinema he creates kinetic machines and mobile objects and well on joining, assembly. Joining Gis Noir Blue of 1920 in is an example. It considers the problem of the light in painting and on the effects of transparency of the colors which results from this. But joinings realized before remains of linear geometrical construction.

Theorist of the photographic medium he led experiences which have him permi to invent the photogram (See this against) and he drafted " peintrue, photography, film ". He shares with Alexandre Rodtchenko that the photography is an autonomous medium the means and the potentialities of which it is necessary to emphasize.

However her judgment on the pictorialisme is without appeal. In " New methods it photgraphie " 1928, it considers as obsolete these various formulations blurred by pictorial principles. The jamming of the pictorialisme is a confusion of essences of the paint and that of the photography.

With artists like Raoul Hausmann and the historian Franz Roh, it considers in the years 1920 the photomontage a major form of modern realism. In accordance with the déconstructions Dadaïses it allots a constructive role which reconciles free composition and strict imitation. effects characteristic of the modern art. The photomontage is a concept which becomes dominant at the time of the assembly. It controls aesthetic research under the influence of the realizers and theorists of the cinema.

According to Moholy Nagy these innovations in the artistic process encourage with “tranformer the photographic process of recording in a deliberated artistic activity” photography records appearances of the things, the artist photomontor “builds a new unit photographiqueà the assistance of photographs given or chosen” It is the distinction between photography and the photomontage. The stereotype is for the photographer a result C is on the contrary for the artists materials artistic to handle, cut out, stick, assemble, go up.

Martha Rosler

2009-10-19T10:55:00.000-07:00

Feminist committed and subversive, long regarded as an artist "underground". Martha Rosler explore, for more than three decades, the contrast between the power of men and women in American society. Using Photomontage, photography, performance, the singer analysis oppression to which women were subjected to domestic juxtaposing images, images of war and fragmented body in advertisements of public space.

It is one of the most influential artists of his generation and his work often requires the viewer to rethink the boundaries between public and private, social and political. During the Vietnam War, it produced Bringing the War Home: House Beautiful (1967-72), a series of assemblies photomontages from the pages of Life magazine, where new stories featuring images of the dead and injured shared column inches with glossy ads for consumer products.

In the late 1970 she found in photography a way to bury a radical modernism, and answer some questions about the Pop Art, Conceptual Art and the representation of the social. On the side of Pop Art Rosler learns to be assembled by gluing pictures of mass culture (magazines, advertisements etc.). Rather than working on the objects. As for his willingness to represent the social reality extra-artistique, inventing a new posture documentary is on the side of the history of photography that can be accomplished, between tradition américiane 1930s (Robert Frank , Weegee ...).

Duchamp Marcel

2009-10-19T04:18:00.000-07:00

One does not introduce either Marcel Duchamp L author of famous cubo-futuristic table Nu descending the staircase from 1913 and of “Ready Made” which shocks the world of the art which expresses its philosophy nihilist of anti-art, C is the wheel of bicycle fixed on a stool out of wooden (it is also an assembly) and carries it bottle and urinal exposed in 1917.

For Duchamp this N is not the manual realization of the artist who is important but only by the “choice” by the assertion of the artist that the work of art is worked out.

Duchamp carefully gathered the totality of these 83 works in the form of reproduction and counterpart S in miniature format in a red leather box.

Richard Hamilton, to marble John, Robert Rauschenberg while passing by Claes Oldenburg, artistic Objects, those of Pop Art and those of the conceptual art (whose Duchamp) anticipates art idéel with the Marie exposed step her single people, even: all owe their artistic approach with the theory and the art of Duchamp which opened this way.

Although Duchamp speaks itself by really about joining even only it does not share the heat Dadaïte with do-it-yourself and assembly by the practice of which the majority of the Dada artists want to dispute the production processs artistic not inventing a new manner of expressing the world.

The report of Duchamp with photography and the photomontage is related to general step which is the detachment. This last will suppose an operator other than itself Man Ray.

In 1921 appears the alter ego of Marcel Duchamp, his female double Rrose Sélavy. A photograph of Man Ray testifies to this innovation. There are at least two version of this photograph one is a photomontage where the arms and the hands of Germaine Everling were substituted for those of Duchamp. There is also an improved version. The same year Rrose Sélavy will appear thanks to a photomontage of Man Ray, she appears in a facsimile of a label for a bottle of perfume, with the initial reversed R.S.
The same photomontage, photographed again then reduced, once stuck on a bottle of perfume Stone, transforms the latter into Ready made assisted. It will be used in its turn again photographed to illustrate the cover of a magazine New York Dada in April 1921.

These various photomontages and joinings where a portrait, more or less improved, comes to crown a body which does not belong to him, are not without pointing out Cs open objets d'art, of the memory kind of “regiment”

The concern turns around the fourth dimension. the installation “the wheel of bicycle” is interpreted many the critic philosophical art, writer like Jean Clair like giving birth to a multiplicity with N dimensions a unit with N + 1 dimensions.

According to book of Clear Jean on Marcel Duchamp and end of art Galimard Edition

Mandeville Bernard

2009-10-19T04:13:00.000-07:00

Bernard Mandeville was born in 1921 deceased in 2000. Mandeville with its abstract joinings prolongs the experiment cubist of stuck paper. The artist cuts out modules which end in imaginary architectures.

He prefers precious papers and geometric contours. The artist cut modules sober which he then carefully considering the organization, leading to imaginary architectures; Mandeville improves its experience Cubist pasted paper, leading to the figures of serenity

Lissitzsky

2009-10-19T04:09:00.000-07:00

A constructivist of the avant-garde russe.1890-1941 Lissitzsky of 1909-1914. After having been a painter, an illustrator and an originator of the Soviet flags, it taught with Malevich with Vitebsk and the workshops of art in Moscow. It arrived to Berlin in 1921 and established exposures of art by the avant-garde post-revolutionist, also working as an author and an originator for the international stores. Its achievements acted like a campaign to forge bonds between the artists in Russia and in the west, between Stijl and constructivism of Weimar' S. Its own paintings of Proun, Proun being a acronyrn meaning for new art, express its vision of a world of the physique inspired by modern thought of spiritualist. They were produced while victory over the sun, which suggests the similar concern. Its work was designed to be a catalyst to encourage the general orientation to form a classless society. Its publications include the Kunstismen matrix, with Hans Arp, a number of magazine of Merz, with Schwitters, other books and independent contributions.

Le Roux François painting and techniques mixtes

2009-10-19T04:04:00.000-07:00

Francois Roux is primarily a painter, his collages are glued paper painted by himself. "In the tables of François Le Roux, Groom, dolls, infantes, painters, models, workshop, birds, cats, trees and various objects, angels, hearts, moons, suns, airplanes, ships, skulls, masks, both living beings and inanimate transforming, moving, moving meet, entangle, Fit, soar, hug. The works François Roux are illuminated fables, legends bariolées, or as color-short ....." Gilbert Lascault

Francois Roux is primarily a painter, his collages are glued paper painted by himself. In his abstract works it multiplies drips, traces unclear lines lost modifying whole. The table is simultaneously complete and incomplete. Each works is an adventure, worse it offers the artist to new inventions, other quests. Thanks to alleged errors, a table can be built and he lives. It is, discards, is covered, then ressucite.

From book of Gilbert Lascault les Poèmes polychromes de François le Roux

Only in french

Schwitters Kurt

2009-10-19T00:40:00.000-07:00

Kurt Schwitters (1887-1948) Excluded from the movement Hobby-horse Berlin, it reacts by melting Dada Hanover. This movement was founded on the apolitical one (thus with the antipodes of the designs of Berlin Hobby-horse, which was a politically engaged movement), the fantastic one and constructivism. Its principal pillars are the Merz review, and the art of the same name.

Merz is a reduction of the word Kommerz which we were able to read on a collage of year 1919. The word arose organically from the merzage of the picture(board), not accidentally, because in the artistic development nothing is accidental, what is logical. J named formerly this picture, according to its legible part, picture Merz. When looking for a generic name for my art, j understood that I created except the usual generic notions, I l named according to the most characteristic picture, the picture Merz. The notion Merz was untranslatable and thus susceptible to evolve in the management given by the picture Merz. By a logical overbid, I gave to the notion of Merz its current meaning and offered it to the community by means of the magazine Merz.
Merz write 1923

The process on which this art is founded is at the same time a major process of all the literary Hobby-horse as much as plastic: it is about joining. One found on his fabrics of the tickets of bus, the scraps of posters or newspapers, of the rags, the buttons, the pieces of fabrics, the stoppers, etc which constituted “harmonious” tables. Merz is besides the fragment of a paper where was writes the German word Kommerz, of Kommerz Bank. (Merz perhaps also translated into French by “trick”, “thing”, which characterizes these assemblies of various elements indeed…) L studied the painting of 1909 to 1914 with the Academy of Dresden. It took part in the review der Sturm of Berlin. Large friend of Hausmann and Arp, it founded a movement parallel with the Hobby-horse which it named Merz. From 1930 to 1948, it took refuge in Norway to flee the Nazism. It was pointed out by drawings with the pencil, the charcoal, the watercolour then joinings and assemblies since 1919. Refused to the Hobby-horse of Berlin by Huelsenbeck, it reacts and creates its Merzbild table in 1919. The word Merz being cut out since Kommerz in a printed advertisement. In 1923, it creates its work in Hanover, Merzbau, a whole of timber structures and plaster with cavities where is embedded its work and those of his/her friends. Destroyed in 1943, it partially rebuilt by Switzerland Harald Szeemann. After 1923, it binds with the constructivists Theo van Doesburg and Russian El Lissitsky. It carried out with them the Merz review appeared between 1923 and 1932. A power station of Merz publicity was creates and it launched the new advertisement for firms like Pelikan, Opel or Bahlsen. After the German invasion of Norway, it resided in 1946 at Ambleside in Westmoreland in England. In February 1995, the Beaubourg Center in Paris organized a Schwitters exposure. It published Anna Blume in 1919 and Ursonate in 1932.

When Schwitters died to Wesmoreland he was far from suspecting that one day he would contribute to make the fortune of the industrialists of the glue in the world. Hundreds of thousands of collagistes applied more or less talented, make collages conscientiously shown during hundreds of exhibitions(exposures) today which are applauded, analyzed and bought, with the aim of achieving a world célbrité. Schwitters was not able to attend his world success, he would have appreciated a lot.

Stezaker John

2009-10-19T00:29:00.000-07:00

John Stezaker been born in 1949 in Great Britain.

There are few documents on the course and the step of John Stezaker. He however exposed in the best Museum d contemporary art and his paintings faces in l permanent exhibition of the Tate gallery in London on the collage.

John Stezaker’s work re-examines the various relationships to the photographic image: as documentation of truth, purveyor of memory, and symbol of modern culture. In his collages, Stezaker appropriates images found in books, magazines, and postcards and uses them as ‘readymades’. Through his elegant juxtapositions, Stezaker adopts the content and contexts of the original images to convey his own witty and poignant meanings.

Coupling male and female identity into unified characters, Stezaker points to a disjointed harmony, where the irreconciliation of difference both complements and detracts from the whole. In his correlated images, personalities (and our idealisations of them) become ancillary and empty, rendered abject through their magnified flaws and struggle for visual dominance.
In using stylistic images from Hollywood’s golden era, Stezaker both temporally and conceptually engages with his interest in Surrealism. Placed in contemporary context, his portraits retain their aura of glamour, whilst simultaneously operating as exotic ‘artefacts’ of an obsolete culture. Similar to the photos of ‘primitivism’ published in George Bataille’s Documents, Stezaker’s portraits celebrate the grotesque, rendering the romance with modernism equally compelling and perverse.

They involve images taken by a myriad of sources and arranged in a grid representing transistors, as described by Anne Bartlett Ayres: "The image of radios and serves as a" base "is a collage receiver deities and demons , An issuer of talismans and secret codes: Hebrew letters, crosses of all kinds, locks, keys and doors; fragments of Greek and Eastern sculptures, photographs by contemporary religious leaders appeared in newspapers; naked women, portions of bodies, heaps of 'Stars; rifles and snakes and birds and roses and mushrooms.

In its brief and intense life Berman devoted this relentless pursuit of the unspoken and yet the "unscribed." in 1957, its first and only public exhibition at the Ferus Gallery, was closed by the LAPD and Berman was arrested for displaying what was then regarded as "pornography." As a result of the indignity to which he has undergone it withdraws from the scene of public art completely. Berman abandoned Los Angeles and moved to San Francisco, returning in 1963 to Topanga Canyon where he lived and worked until his death. Berman left Los Angeles and moved to San Francisco, back in 1963 in Topanga Canyon, where he lived and worked until his death in 1976.

According to Freedom of the Centre Pompidou exhibition Los angeles 1955 - 1985

Roman CIESLEWICZ

2009-10-19T00:20:00.000-07:00

Throughout its professional life, Roman Cieslewicz showed an exceptional inventiveness. With an untameable creative energy and without being concerned with borders, it used joining and the photomontage to divert images and to create strange associations. The quasi systematic use of the colors sharp and the pure forms gives to its creations a single and immediately recognizable seal. Beyond its artistic qualities, Roman Cieslewicz remains also unforgettable for its standpoint, its claims, its engagement but also its capacity to be shocked. Biography of the author Born in 1930 in Poland, Roman Cieslewicz passed most of its life to France. Its work, completely singular definitively upset contemporary graphic creation. Funny, provocative, sometimes even uncomfortable or dérangeantes, its image cannot leave us indifferent. Disappeared in 1996, Roman Cieslewicz is without any doubt a emblematic figure of contemporary graphics. IT HUSTLES all the rules. It stirs up the spirits. ll triturates the images with the scissors, the photocopier and the adhesive to recycle them in a strange, provocative and poetic way. It diverts reality, recomposes it to create an inventive, free, coloured and black world at the same time, passing very close to the unreal one sometimes. The French artist of Polish extraction, Romance Cieslewicz (born in 1930 in Lwow, died in 1996 in Paris), that which was defined as a “pointsman of retina” to have the eye and the world with the eye, left us the explosive work among richest, most expressive, most claiming of the school of the Polish poster artists; this school born in the crucible of propaganda after the Second World war. Its style, founded on the circle, the large obliques, exaggerated off-centrings, the use of the letter for its figurative value, is recognized in the moment. The artist unceasingly nourishes associations of images in black and white (800/1 200 € for Topor, a photocollage of 1978, 2.000/3 000 €, joining original for It of 1968 with its bodies of truncated women, in fishnet stocking) but also colors sharp (2 000/4 000 € for the image icon of Che If, original model for the cover Opus n° 3). The world of Cieslewicz touches us by the expression of turbulences of its heart, its humour and its phantasms. Poetic and extremely at the same time. Always full with modernity.

John Heartfield

2009-10-18T13:08:00.000-07:00

First painter he is best known for his collages violently denouncing Nazism. His work is published in newspapers communists. Friends of George Grosz he was admitted to the Dada movement in 1918.

The photomontage and photograms are inseparable from the new way to see who emerges in 1920 in Germany with John Heartfield is one of the actors. The New Vision opposes upstream and downstream two photographic art movements: Pictorialism and the new objectivity. The pictorialist photography dominated the soumettrant pictorial model. The photomontage used as a means of resistance are also a reaction to the painting which he denounces Raoul Hausmann and Hannah Höch increasing abstraction, conceptual vacuum, the break with reality. It also contributes in a breakthrough in making visible the social and political situations outrageous by photography.

Jiri Kolar

2009-10-18T12:43:00.000-07:00

At the beginning of 1918, Raoul Haussmann had started to make tables with fragments of posters, coloured bits of paper and newspaper cuttings. But it is at the time of a stay at the edge of the Baltic, with Hannah Hoch, that it had the idea of the photomontage. In almost all the houses where was hung, with the wall, a lithography color, image kind of Epinal, representing a pomegranate on bottom of barracks. To make this memorandum more personal, several families had had the idea to stick to the place of the head pomegranate a photograph of the son or the husband died in the face. It was like a flash, writing Hausmann, I live itself instantaneously to make tables entirely made up of cut out photographs. The extract the Author, an autobiography (Olivier/the Threshold, 2001) and Roussel limited liability company (Al Dante/Scheer, 2003). If collage cubist allowed a new projection in the investigation of space, the photomontage makes it possible Hausmann to analyze the image and its operation. I adopted with the discovery of the photomontage a supra-realistic attitude, which makes it possible to work with a prospect in several centers and to superimpose objects and surfaces? , writes he in his synthetic Cinéma text of painting. Such a freedom makes it possible the artist to obtain complex images mixing the visual element, the letters, the words, often joining together the organic world, emotional and it mechanical.

Philibert Charrin

2009-10-18T12:25:00.000-07:00

PHILIBERT-CHARRIN (1920 - 2007) Figure uncontested of the art of collage during 50 years, it carries out “painting-joinings” starting from materials, pieces of paper, most various of fabric or partitions, old subway tickets etc… Pierre Brisset in the revie the Eye in December 1985 wrote: ”… Regarded since too a long time as minor art, and even a diversion for (poor) surrealist delayed which is satisfied to replace the head of the Mona Lisa by that of a rhinoceros or to finish in tail of the Venus body of the titien, joining finds with Charrin its true identity. Philippe Charrin is not only a one creator full with imagination and sensitivity, but still a painter authenticates who, even without lesecours brush manages, as Jean-François chabrun wrote it at one time, “to translate” the values of the true painting”

Raoul Haussmann

2009-10-16T12:13:00.000-07:00

At the beginning of 1918, Raoul Haussmann had started to make tables with fragments of posters, coloured bits of paper and newspaper cuttings. But it is at the time of a stay at the edge of the Baltic, with Hannah Hoch, that it had the idea of the photomontage. In almost all the houses where was hung, with the wall, a lithography color, image kind of Epinal, representing a pomegranate on bottom of barracks. To make this memorandum more personal, several families had had the idea to stick to the place of the head pomegranate a photograph of the son or the husband died in the face. It was like a flash, writing Hausmann, I live itself instantaneously to make tables entirely made up of cut out photographs In this he was followed by Hannah Hoch. The extract the Author, an autobiography (Olivier/the Threshold, 2001) and Roussel limited liability company (Al Dante/Scheer, 2003). If joining cubist allowed a new projection in the investigation of space, the photomontage makes it possible Hausmann to analyze the image and its operation. I adopted with the discovery of the photomontage a supra-realistic attitude, which makes it possible to work with a prospect in several centers and to superimpose objects and surfaces? , writes he in his synthetic Cinéma text of painting. Such a freedom makes it possible the artist to obtain complex images mixing the visual element, the letters, the words, often joining together the organic world, emotional and it mechanical.

Martial Raysse

2009-10-16T12:00:00.000-07:00

First abstract painter on the French Riviera in the 50 years it calls into question his career.
Beginning in 1959, Martial Raysse uses all sorts of materials and techniques: plastic, plexiglass, neon, mirrors, paint, artificial light, objects, photographs, photocopies, spraying, cutting, report, assembly, including expansion. During this period he uses techniques including assembly He stayed with the United States it is to the American Pop Art and is a part, since its foundation en1960 of the New Realist movement may then be defined as "a painter of modern life .

Raysse introduce neon in his paintings to emphasize certain forms, mouth, eyes. "I discovered neon. It is the color vibrant color across the color. The artist takes an approach for the reduction of plastic and ways to simplify the representation

Pictorialism

2009-10-01T02:22:00.000-07:00

By Mélon Marc émmanuel HANNON ÉDOUARD (1853-1931)

Photo hobbyist, born in Ixelles, in the suburbs of Brussels, of a family of the Belgian upper middle classes, Édouard Hannon made studies of engineer at the university of Ghent. The famous firm of chemicals Solvay charged it, in 1877, with founding a branch with Dombasle, in French Lorraine. At the time of this stay, it discovers the workshop of glassmaking and cabinet work that Emile Gallé had just founded in Nancy. Its sensitivity to the Art nouveau engaged it, as of the beginning of the years 1890, to join the rows of the photo hobbyists eager to make recognize photography like an art. It was the beginning of what is called today the school of the pictorialism in photography, a movement born in the mobility of the Art nouveau and which, in the same spirit, sought to make apply to photography, always regarded as an industrial art, criteria of appreciation in force for the fine arts.

This dichotomy whose still photography at the end suffered of the XIXe century, Hannon made the experiment in its photographic practice of it even. As a photo hobbyist, member of the Association Belgian of photography, and thus in favour of the theses pictorialists, Hannon carried out a work which one can describe as “erudite”, because referring to the rules of the composition, framing and contrast. He used the techniques of pulling sophisticated in vogue near the photographers artists (pulling with coal, with dichromate gum) and invented with ingeniousness some processes making it possible to return the effects of screen and blur, so much at the time required. Beside this official work, which was entitled to the ogee mouldings of the living rooms, Hannon carried out as an engineer an important collection of stereotypes taken during its many voyages abroad where the Solvay company sent it to control the installation of its subsidiary companies.

These photographs, which one knows the negative ones but few pullings, are presented in the form of travel souvenirs, traces of the visited places, without apparent concern of the composition nor of framing. But what, in the spirit of Hannon, was not to undoubtedly be that a book of notes seems today a report of an exceptional quality on the social life - mainly urban life of the underprivileged classes - from Europe, the United States and especially of Russia tsarist of the end of the XIXe century. As a testimony, the work of Hannon takes seat at the sides of the great names of documentary photographic, like Lewis Hine or Walker Evans. However, the high informative value of this report should not occult its astonishing formal qualities. Indeed, the stereotypes of Hannon are as unfinished sketches if one compares them with his photographs pictorialists tallied, drawn and exposed with all the care required for a work of art. But with the passing of time, one discovers that these sketches in fact are controlled in a way surprisingly meticulous person and that they are subjected not to a pictorial esthetics, but with a specifically photographic esthetics, based on the off-registration, the out-field and the against-composition. Hannon must have an incredibly premonitory vision of what would be, thirty years later, the movement of the pure photography, exaltée by Strand and Stieglitz in the United States, or by Feininger and Renger-Patzsch in Germany. The work of Édouard Hannon was rediscovery and studied by the Belgian photographer Gilbert De Keyser, then safeguarded and preserved by photographic Space Contretype, center of contemporary photography, installed since 1988 in the old private mansion of the photographer, in Saint-Gilles, Brussels.

This beautiful residence Art nouveau was built in 1903 by a friend of Édouard Hannon, the architect Jules Brunfaut. Photographic Space Contretype devoted several exposures to Hannon, in particular É. Hannon and the new art, in 1993.

hoto hobbyist, born in Ixelles, in the suburbs of Brussels, of a family of the Belgian upper middle classes, Édouard Hannon made studies of engineer at the university of Ghent. The famous firm of chemicals Solvay charged it, in 1877, with founding a branch with Dombasle, in French Lorraine. At the time of this stay, it discovers the workshop of glassmaking and cabinet work that Emile Gallé had just founded in Nancy. Its sensitivity to the Art nouveau engaged it, as of the beginning of the years 1890, to join the rows of the photo hobbyists eager to make recognize photography like an art. It was the beginning of what is called today the school of the pictorialism in photography, a movement born in the mobility of the Art nouveau and which, in the same spirit, sought to make apply to photography, always regarded as an industrial art, criteria of appreciation in force for the fine arts.

This dichotomy whose still photography at the end suffered of the XIXe century, Hannon made the experiment in its photographic practice of it even. As a photo hobbyist, member of the Association Belgian of photography, and thus in favour of the theses pictorialists, Hannon carried out a work which one can describe as “erudite”, because referring to the rules of the composition, framing and contrast. He used the techniques of pulling sophisticated in vogue near the photographers artists (pulling with coal, with dichromate gum) and invented with ingeniousness some processes making it possible to return the effects of screen and blur, so much at the time required. Beside this official work, which was entitled to the ogee mouldings of the living rooms, Hannon carried out as an engineer an important collection of stereotypes taken during its many voyages abroad where the Solvay company sent it to control the installation of its subsidiary companies.

These photographs, which one knows the negative ones but few pullings, are presented in the form of travel souvenirs, traces of the visited places, without apparent concern of the composition nor of framing. But what, in the spirit of Hannon, was not to undoubtedly be that a book of notes seems today a report of an exceptional quality on the social life - mainly urban life of the underprivileged classes - from Europe, the United States and especially of Russia tsarist of the end of the XIXe century. As a testimony, the work of Hannon takes seat at the sides of the great names of documentary photographic, like Lewis Hine or Walker Evans. However, the high informative value of this report should not occult its astonishing formal qualities. Indeed, the stereotypes of Hannon are as unfinished sketches if one compares them with his photographs pictorialists tallied, drawn and exposed with all the care required for a work of art. But with the passing of time, one discovers that these sketches in fact are controlled in a way surprisingly meticulous person and that they are subjected not to a pictorial esthetics, but with a specifically photographic esthetics, based on the off-registration, the out-field and the against-composition. Hannon must have an incredibly premonitory vision of what would be, thirty years later, the movement of the pure photography, exaltée by Strand and Stieglitz in the United States, or by Feininger and Renger-Patzsch in Germany. The work of Édouard Hannon was rediscovery and studied by the Belgian photographer Gilbert De Keyser, then safeguarded and preserved by photographic Space Contretype, center of contemporary photography, installed since 1988 in the old private mansion of the photographer, in Saint-Gilles, Brussels.

This beautiful residence Art nouveau was built in 1903 by a friend of Édouard Hannon, the architect Jules Brunfaut. Photographic Space Contretype devoted several exposures to Hannon, in particular É. Hannon and the Art nouveau, in 1993.

The esthetic statute of photography appears of an exceptional ambiguity. It gave place to no great general theory, but it is the fact as many estheticians as professional experts. The expression even of “beautiful photograph”, pejorative at much of them, remains laudatory among amateurs, who - exceptional fact as regards art - adopt each day this activity more. “A fortuitous sunbeam or a shade through the way, a oak desiccated by time, a covered stone of foam can wake up a series of thoughts, feelings and imaginations picturesque”: this sentence of the pioneer William H.F. Talbot (1800-1877), who discovered the latent image - compared by Paul Valéry with the emergence of worms perfect out of the “inner language” -, could be contresigned by any gifted amateur of some sensitivity. “Art” is not whereas the pretext with “associations of purely individual ideas”. While the cinema, which, to the eyes of the layman, passed a long time to be only “photograph moving”, has already, and for a long time, its statute of art, for which one invented since 1920 a “tenth MUSE”, photography, after one century and half of existence, remains marked tares of its birth.

1. Firt discussions, first mistakes

We can enumerate three of the tares which marked the beginnings of photography: contradiction between its origins of nature experimental, scientific, in any case free from ideas preconceived on the role of the “daguerreotype”, and the appetites of “realism” to the vague direction, extra-artistic appetites of the public; exhausting the controversy which was established from the start to know a priori if photography were an art, if it destroyed art as the painter Paul Delaroche affirmed it since 1839 or if it could remain without being defined between these two positions; finally the fact that, last the “heroic” period about which one will speak only briefly, the photographers themselves never have, except extremely rare exception, sought to be defined beyond some vague and not very effective proclamations of “originality”, up to one very recent time (which coincided besides with their least chance to be made recognize as artists, because of the increase striking down in the number of the amateurs). It is notable that this phenomenon occurred inside the market governed by the laws of capitalism in time when, even more expensive, cinematographic industry succeeded in being made accept as an art, while obeying more narrowly still the laws of this same market. It is symptomatic that the oldest today remaining daguerreotype is a “work of art” to the second degree; Jacques Daguerre had there the elements which symbolize rather well the cultural luggage which could be it his, apart from the purely scientific concerns: an ancient imitation of nymph, two heads of cherubs, a wrapped bottle of wicker, pointing out the craft industry of the artistic country par excellence, Italy, a sentimental lithography and two other plasters. This “still life”, independently of the tastes which it reveals in its author, opens a way which for a long time was hardly attended. Indeed, at the beginning of photography itself, it is the portrait which triumphs. It is essential to remember that it literally submerged all the other attempts at development of photography during several years. That means, on the aesthetic level, a desire to compete with the painters of portraits, which one knows today who at the time post-romantic the major concerns were not exactitude that their models claimed and besides obtained. The desire of exactitude in the reproduction corresponds, one often noted it, with the final rise of the middle-class (under the reign of Louis-Philippe) which prepares positivism. It is striking to note that holding them of integral realism, out of literary and pictorial matter, were wary of photography; thus, Champfleury exclaimed: “What I see between in my head, goes down in my feather and becomes what I saw [...]. The man, not being machine, cannot return the objects automatically. The novelist chooses, group, distributes; does the daguerreotype try hard so much?” Confused and naive argumentation where the concept of realism reveals its own ambiguities spontaneously (one will reproach in the same way the surrealist “automatism” for being given up with the “facility”). The sarcastic remarks of the largest esthetician of the time, Baudelaire, are of another class. How the portrait, more than the “study” - Delacroix which he likes and even severe Ingres that he admires in make! -, it aims at the first “reconstitutions” of “tragic or gracious” scenes of the history, these groups “of funny and hussies” disguised, who insult “at the same time the divine painting and the sublime art of the actor”. Realism however is not saved: “The company immonde rua, like only one Narcisse, to contemplate his commonplace image on metal.” And to the dandyism of Baudelaire comes to mix its puritanism, when it condemns the stereoscope at a rate of the embarrassing exploitation which was made at once by it by skilful tradesmen: “The love of the obscenity, which is as long-lived in the heart of the man as love of oneself, did not let escape a so beautiful occasion to be satisfied.” On a point, the memories of Nadar give reason to Baudelaire: photographic industry was the “refuge”, if not of “all the missed painters, too badly gifted or too lazy”, at least of a good number of them, and especially of representatives of this Bohemian socially unclassable, at the same time concerned of material and rubbed freedom artistic culture, where coudoyaient themselves “missed painters, missed sculptors, clerks in bankruptcy” (Nadar). Admittedly Baudelaire is unjust towards Delacroix, which in 1854 considers it regrettable that the photography “came so late”, as it had been for Charles Nègre, which about 1860 naively transposed on the fabric its excellent photographs so, supreme honor, to expose to the Living room, as it had been for more specific research of Degas. But, large or small, the painters preserve in front of photography a total attitude which explains its rapid derives from “realism” towards claims of another kind. Full with goodwill, some criticize exceeded the non-problem raised by the exactitude of the “drawings”, as Disderi (1819-1891) believes still necessary to call its tests and even its “photographic calling cards” to the patented format, which enormously lower the cost price of the “portrait”. The example of Lamartine is completely interesting, if one thinks of the real influence which its Course familiar of literature (1859) can have where, having initially pronounced a vigorous anathema against photography, it suddenly changes opinion after having seen the tests on bluish paper of “sculptor” A. Adam-Solomon. It exclaims: “Photography, it is the photographer [...]. It is better than an art, it is a solar phenomenon where the artist collaborates with the sun!” As of this time, photography is thus summoned outside to transform itself into art: juridically, it is allowed like such, “at least in certain cases”, by a decree of the Court of Appeal of Paris (Apr 10, 1862) concerning a business of “plagiarism”. The dominant esthetics which, born in France, was spread at once in all Europe, especially in Great Britain, ratifies the misinterpretation which the expression pictorial photography summarizes. Thus, Nadar - pseudonym of G.F. Tournachon (1820-1910) -, whose certain remarks announce those that the theorists of the “new objectivity will hold” after 1920, is seen decreeing the title of “Titien of photography”, because it also uses “to him” very beautiful velvety blacks in its portraits - what testifies as much to an ignorance of the genius of Titien that his clean. Nadar takes the first air photography in 1858, the first underground photography in 1861; in 1886, it is the first “photographic interview”, where it is made take vis-a-vis the scientist Chevreul centenary; it is necessary to still quote its effigies of Nerval, Baudelaire and Dumas, inter alia.

2. The “escape out of reality”

At that time where the stakes of impressionism are posed occurs a vice of effects of blur, final improvements, complicated chemical treatments, the purpose of which are all acknowledged or unavowed to make it possible photography to compete with painting. The vogue of the new art follows the curve of the general evolution of the company: triumphing positivism a certain “escape succeeds” towards historical phantasms or symbolic systems which are used as counterweight with new problems. At the same time as of innumerable photographers drown their models in the fogs more or less sophisticated where, Bernard Shaw in 1902 will say, “the figures become suddenly indistinct and nonsubstantial, in a way as not very convincing as irrational”, the modern style relaying impressionism, others multiply sets able to compete with those painted by Thomas Couture or Ernest Meissonier. One represents using actors Don Quichotte in his library, or even of the allegorical scenes in the taste of the préraphaélites; H.P. Robinson, whose theoretical works (Picture Making by Photography) will be republished until 1916, did not hesitate to draw vast paperboards, grouping several figures heavily symbolic systems, before carrying them out in its studio using alive models; J.C. Strauss, in Germany manufactures of Frans Hals “on order”; F. Boissonas, in Geneva, pastiche (inter alia) Honore Daumier! In comparison, underhand erotism of the reverend Charles Dodgson, alias Lewis Carroll, guard all his freshness, if one thinks that the childish models that it made pose around the topics of Alice to the country of the wonders often did not have for them that the charm of their age. There is no solution of continuity between its work with legendary half (itself destroyed the major part of it) and, beyond the artistic photographs “naked” the laboriously manufactured one since the daguerreotype, according to the taste of each generation, research of authentic artists such as Hans Bellmer (the Headstock, 1936, series of variations), Man Ray, or certain Anglo-American photographers, such Bill Brandt. Thanks to them, the erotism became an authentic component of the esthetics of the light. Thus, about 1860-1900, no ground of discussion was offered which made it possible to the best photographers - in particular Parisian “documentarists” - to continue as artists. The most interesting research remains of a scientific nature (rifle chronophotographic of Étienne Jules Marey, which breaks up the movement, announcing the cinema) or exaspèrent the tendency to “imaginary” (unquestionable spiritistic “photograph” phantom and ectoplasms; Fixed Auguste Strindberg on the plates its experiments of alchemy thanks to the overprinting) in time even where the objective, clinging to the telescope or the microscope, reveals, beyond the utility role that Baudelaire assigned to him in these fields, of new beauties “in a rough state”. 3. End of photography-painting Although also influenced by the style of the British photographers, American photography had had its own evolution, marked in particular by a very sharp taste of the reports, which culminates with the admirable documents on the American Civil War due to Mathew Brady, Alexander Gardner and Timothy Sullivan, where the scenario writers of westerns will regularly come to seek sources of inspiration. About 1900 however, the “international style” (exported to Japan) included the documentary truth in the rhetoric of the effects: the “matter” (papers of luxury, final improvements by suppression or addition of details, etc) took precedence over the light. It is the time when a esthetician, Robert of Sizeranne, exclaimed: “Photography exceeded the promises of science; it had promised only truth to us, it gave us the beauty”, confusing with this one a vice of tricks (dichromate gum, fatty inks) which pastichent the charcoal, the aquatinte or the washing. About 1907, the American Alfred Stieglitz broke brutally, thanks to a precise theoretical argumentation, with “artistic” photography. Having created, since 1902, a dissenting group of the Camera Club of New York, it condemns not only the final improvement, but the enlarging: it works with a portable apparatus, even under the most difficult conditions (photographs taken in snow). In 1910, an art gallery opens its doors with its group (Photo-Secession), however that Stieglitz plays a part of foreground in the diffusion of paintings cubists in the United States: one could say that it photographs some sometimes undertook to make cubism according to nature. The choice of apparently dehumanized subjects, the importance of framing, the introduction of repetitive elements intended to support the impression of rate/rhythm or on the contrary the juxtaposition (for example of large letters of poster and an angle of leprous wall) explain why Picasso has, in its turn, recognized a research close to his in its work. But it is not a question of a banal transposition of the sights cubists by another medium: in 1921, Stieglitz leaves to the conquest the “pure” photography which rests, to each test, in each “plan”, the same problem: “a maximum of details for a maximum of simplification”, that it less solves in a “realistic” direction, as one could believe it, than Platonic. It photographs clouds which it calls of the “songs of the sky” and of the “equivalents of emotion”. The Photo-Secession group had only a few years of existence, but it is thanks to him that the originality of photography like artistic medium could be marked without return. Independently of their particular concerns, the artists who composed it indeed introduced the problem of the illusion of reality, problem today in the center of many discussions of the theorists of the cinema. Their activity was in a field where this problem was not encumbered by the data concerning “continuity” in the space and the time, which affect cinematographic criticism today. On the other hand, it is notable that Paul Strand, the most gifted photographer that about 1916 the Photo-Secession revealed, passed in a second part of his career to the film corealisation. It brought there the same power, the same party taken to reach essence starting from a banal or quasi abstract detail: “Objectivity is the genuine gasoline of photography, its contribution to art and also its limitation. The problem of the photographer is to clearly see the limits and the potentialities of its medium.” With him “pure” photography joined the dumb life of the objects: “If you are alive, a vegetable, a barrier mean something for you.

Die Welt STI schön (“the world is beautiful”), this title of a album-proclamation of the German photographer Albert Renger-Patzsch (1928), reveals well the internal contradiction of the “illusion of reality”: Renger-Patzsch condemns any faking, any research of the “effects”, all the more remarkable attitude as it is almost contemporary crisis expressionnist of the German cinema; but while privileging more subtly than the Masters of the Photo-Secession such detail of nature (a branch in flowers, a heap of old stones), it introduces the thesis according to which the beauty of the world depends on the choice made by the eye which looks at it. The photographic image, by its “objectivity” or its “mechanical character”, which is that answers best the remark of Spinoza: “I allot to nature neither beauty nor ugliness, convinced that I am that the things are beautiful or ugly only compared to our imagination (faculty to create images).” A third current of this time is represented by the researchers who are at the origin of the first “abstract” stereotypes completely. Since 1913, Alvin Coburn breaks traditional space by its sights in diving of New York and especially by its triangle of mirrors placed in front of the objective. The painter Christian Schad obtains in Zurich, in 1918, of the images without camera in illuminant of the objects posed on significant surface. In Bauhaus, László Moholy-Nagy remains attached to graphics. However these three currents converge towards an “etymological” definition of the photographic art: it would be a “description of the light” by itself, the support (prone, material pseudo-pictorial) being gradually tiny room to the state of pretext. The emotion or the reflexion would have to even be born from the luminosity. It is from this point of view that it is necessary to appreciate the rather exceptional theoretical contribution of Man Ray. With him, the divorce between painting and photography are paradoxically consumed, since it uses the two techniques, by radically excluding them one from the other. By its invention of the “rayographes”, photography does not have any more a support of the whole and, according to its beautiful formula, there is “the new one under the sun”. If it is being at the same time excellent and meticulous portraitist and the author of “technical” successes which must much with pure poetic imagination, it is not only with the influence of the Photo-Secession, of dadaism and of surrealism that it must, it is also with this conferred freedom, according to its own statements, by a “practice absolutely familiar of the trade”. Freedom which recently enabled him to turn over its proclamation of 1937: “Photography is not art” while saying: “Art is not photography.” Cultivated by amateurs as of the origins, the photomontage and the photocollage which lead to lend to a preliminary unreal composition “all appearances of something of reality which was photographed”, were integrated from the start in the current of renewal of the forms which started with the cubism and during the period 1910-1920. From a sometimes hard imagination, they passed to political propaganda with John Heartfield and El Lissitsky. The prevalent tendency since 1930 combines a certain poetic taste, even fantastic, taste of the strangeness, with the social realism, which finds the verism of Eugene Atget (1857-1927), the acuity of the “new glance” not excluding an artistic will. That one thinks of the school Czechoslovakian, remained remarkably faithful to the surrealist influences of his origins (1935), and better still in Brassaï (1899-1984), precursor of all the current French school, which mixes freshness with the emotion with humour and picturesque social, in particular, at Izis and Robert Doisneau. This last tendency at the same time “is sublimated” and exceeded by Henri Cartier-Bresson (born in 1908), who integrates his plastic concerns into the report, conceived like a research of the “decisive moment”, excluding the anecdote and transferring the instantaneous one to the permanent one.

4. Trend(Tendency) the most recent

After the backward flow of “pure photography”, a convenient simplification consisted in classifying the photographs in “abstract” and “realistic”. But this simplification violated the inevitable phenomenologic relation: there are not two reports/ratios different from the eye (or the objective) to an object whatever it is. At most it was seen supplanted by its own image at a rate of the “deformation” of this one. Many modern painters were subject to the influence of “page-settings” of photographers however realistic, but who cut out space in an unexpected way. As Rene Huyghe noted it about 1950, the objective for of “eye of fish” (eye-fish) immediately carries out the spherical prospect which required formerly painters of hard calculations and short cuts cunning. The dispersion of the current tendencies was accentuated under the effect of extra-artistic events. The first is placed before the Second World war: it is the birth of the great report, with all the constraints which it involves and also its possibilities of “return to the subject” more or less with feeling, but also if necessary deeply human, such as Robert Capa (1913-1954) imposed it, witness of the tragedies of our time. A little later, at least with regard to the reflexion of the photographers on their activity, one attends the development of the photography known as scientific, which had already modified the aesthetic sensitivity by revealing unknown aspects of the Universe. This one allowed creation (at the price of light fakings, like the “catch continues”) images which, by their strange aspect, acquire an aesthetic value. More recently, it let play the imagination of some creators, starting from structures studied under all the aspects, such the “adventures of matters” of Jean-Pierre Sudre (1962). It is necessary to evoke, finally, the push of “subjectivism” which, at the end of the Second World war, caused the attempts at Otto Steinert (1915-1978) creating in 1949 the Fotoform group (it was flattered to increase the field of photography and to even reverse the step of it in “going up” psychological analysis until the image) and those, frankly irrational, of Minor White (1908-1976), whose “mirages” communicate to rare forms unexpected significances and influenced a whole group of American photographers who believe in the “magic” possibilities of the objective. The color could have appeared a determining element of renewal of photographic esthetics. Enough curiously, the artists was a long time reticent in its connection, showing it “to distort” the purely plastic reports/ratios suggested or underlined by the “black and white”. More spectacular than really conclusive, Essays d' Erwin Fieger (born in 1913) announce an extreme attempt to violate this taboo, using “phantasmagoric” receipts which are unaware of reality deliberately. Perhaps it is about a non-problem, due to a kind of timidity in front of a whole of processes which, announced since 1869 and independently one of the other by Charles Cros and Louis Ducos de Hauron, were developed with chances of infallibility only during the time 1940-1950. The example of Gjon Mili (1904-1984) shows that the passage from one “technique” to another does not modify ipso facto an aesthetic design. When it photographs colors the jump of a frog in water, or Picasso drawing in the air with a flashlight, or the “successive installations” of a dancer moving, it continues to want “to contradict” the word of Brassaï: “Photography is the opposite of the movement.” The same tendency is found in the young Italian school (Fontana) which stylizes to the extreme of the fragments of reality and obtains an equivalent of “paysagism abstracted” with the pure colors, subtly granted or désaccordées. The opposite school all the candid photography which works in ambient light without worrying neither about the values neither of the framing nor of the angle of catch (two concepts too often confused), although being able to claim precursors such as Edward Weston in 1937, aims in fact “to exceed” any aesthetic quarrel. It is interesting to note that it coincides in time with the beginnings of the crisis of the American cinema. One can raise, on this subject, that the photographic anthologies of on the other side of the Atlantic often opened their pages with large “directors of the photography” (operators chiefs) of Hollywood, from which the varied styles are transposed of the screen to the ordinary objective. One of most eminent, John Alton (born in 1901), published about 1950 two theoretical works which became “bibles” on the other side of the Atlantic: Photography and Lighting and Painting with Light. Lastly, the diversity of the aesthetic tendencies underwent the “recoil” due to the apparent standardization of photography as regards cinema, mode and publicity. 5. Sociology of photography One already saw how much the development photography was related to the evolution of capitalism in France and England. As it is not astonishing as the first signs of a change of design occurred in the United States in one period when this country lived its first great crisis. The goal of Brady and his assistants was characteristic besides: to show the war to avoid its return. This tradition persisted and grows in the United States. About 1900, in fact photographic investigations bring the destruction of the slums of New York. Roosevelt will call upon famous photographers to support some of his social campaigns. Meanwhile, the example will have been followed by the U.S.S.R., on scale quantitatively less but aesthetically such an interesting, especially because of the influence of futuristic and modernistic during the first years which followed the revolution of October. This use of photography like social tool was later on victim of its diffusion even and the conditions of commercial operating of the great report. It is however necessary to recall the splendid exposure of “planetary sociology” organized in New York by a veteran of the Photo-Secession, Edward Steichen, in 1955: The Family of Man. It selected there, on two million tests received from 68 countries, 503 photographs which constitute the panorama of contemporary humanity, “condemned” to the unit and fraternity. One can consider the sociology of photography in opposite direction, i.e. by taking the point of view of the public. It was noticed that the request had been limited very a long time to the portrait, to which were added rudiments of information (portraits of celebrities, “picturesque” sights) and certain social requirements (photographs of group). This request could not have in theory of artistic exit, and it persisted by maintaining a craft industry; but it in addition completely changed under the influence of other activities, primarily publicity and the fashion: a typical case is that of Richard Avedon who, large photographer of mode, became a portraitist in turn moving (Marylin Monroe) and extremely wild for some of its models belonging to the “high society”. For a long time there was not in Europe of very real request with regard to the photography conceived like an independent art (single tests or with limited pulling). It is probably because each one thinks of being able to be a photographer and that the material required to be it is acquired easily: since 1968, more half of the French hearths had an apparatus. Reciprocally, the majority of the professionals, after having had to support to see illustrations drawn or engraved “according to a photograph” by pseudo-artistic prejudice, in general agreed to sell their photographs at agencies which always did not mention their signature; but since the years the 1980 photographs of agency are not anonymous any more. A number growing of them try to become their clean “producers” to maintain their copyright on their works. The teaching of photography exists in the United States, but it is absent or embryonic almost everywhere else. There still, one can note that the assimilation, indefensible in healthy logic, of the cinema with photography finds a justification practical in the fact that the majority of the photo hobbyists tend to be transformed into scenario writers amateurs. The empirical statute of the fixing of the “privileged” moment - this moment was a fragment of object - is taken again and denied by the desire to fix “at the same time” the moment and the movement which is its negation. As well with regard to its social diffusion as for the few aesthetic reflexions as it caused, photography seems thus condemned to vegetate in margin of the medium much more powerful which developed from it.

The art and digital collage

2009-08-31T00:57:00.001-07:00

A new aesthetic collage with digital technology
New technologies are winning over more and more artists who are dedicated to where the art of collage or painting, drawing, sculpture, and photography. They use digital technology as a tool in the context of their artistic production. Often the use of this technology is so subtle that it is difficult to distinguish between digital and analog.
Digital allows manipulation and combinations of several techniques such as photography or video is sometimes an art lover finds it difficult to distinguish the different mediums used.
The appropriation and collage techniques that have their roots in Cubist, the dadaists and surrealists in the early twentieth century, already enjoy a long history, the digital has opened up new horizons. Thanks to digital technology, new opportunities open for artists to the art of collage and technology composites. The invisibility of fittings simulates a new reality and gives these images a very new, where the elements were not real transitions between them.

Collages and digital composite images have marked a turning focusing erasing borders. Among the artists who are increasingly using the computer to create complex is the American actor Scott Griesbach art multimedia collage.

By remaining in the art of collage and venturing into that of the image advertising. The latter is no longer a simple representation of a mark but the image carries a concept or a value. Digital technology has contributed greatly to the development of this "consumer culture" of images and art often refers to this theme.
Widely used in the advertising digital collage also calls into question the realism by making it possible realities simulated where hyper realities. The fact that we can also compose a digital image by combining realities of different art forms tends to blur the boundaries between mediums, including painting and photography. The textures are created by printing ink jet on suitable media that rival paint brush.
The elements of the process of composing, writing software, the use of software remain forms of expression that s apparentent the work of collagistes papers but who brings a signature aesthetic entirely new.

Photomontage and assembly

2009-08-31T00:53:00.001-07:00

History and Future Directions
It was in 1910 that the German Dadaïsts Georg Grosz, John Heartfiled , , Raoul Hausmann and Hannah Hoöch have the first use of photomontage in reaction to the painting which he denounces the increasing abstraction. These photomontages are part of the will to protest and shock. This new art in 1920 is regarded as a major form of modern realism. Indeed photomontage reconciles imitation and composition.
That view dominates in the middle of Berlin Dadaist who opposes German Expressionism, which is a dominating power, reducing the figure of the artist to that of the image editor (Hausmann, Heartfield), close to the technician , against a devout vision of art and against sensible figure of the artist creator. Blend, off, poem, poster are all practices that put deconstructivist derided art and his claims. Heartfield evolve into a new kind of producer of art: the artist activist whose work is entirely driven by its function, its social purpose. At Hausmann one is in a playful space, in a consciousness that agrees to submit to the impulse visual imagination and automated. At John Heartfield, photomontage leads to a class. It articulates them pieces of a real outbreak, in order to make intelligible to that plunged into chaos in the world. It represents the removal from the point of view of the bourgeois class to the benefit of the proletariat. In the Soviet photomontage ( El Lissitzky , Alexander Rodtchenko ) is a space-perspectiviste and anti-naturalist, combining text and visual. It aims to have on the viewer the greatest possible action. The photomontage is tilted in its entirety by language: in Dadaist poem Hausmann, political slogan among Heartfield and the Soviets. At Hausmann the title does not change the meaning of the table but, as part of the collage, opens up a space to the subjectivity of each. At Heartfield slogan and it is injunction, which is extracted from speech, proverb or quote, as a piece of reality glued to the reality that piece of the picture. In Soviet there is a real sensitivity to the letters of alphabets and typography.

The collage was soon applied to photography through photomontage in the aesthetic of the fragment and shock. There are also attempting to cross painting, photography and drawing, photography and writing.

The collage is conceived as a means to penetrate the lines within a single image from reality (with Brecht: the image alone does not put enough emphasis on the World, only the introduction of extra photographic elements
The effectiveness of photomontage art is not limited by the photographic recording. The assembly is designed to make situations irreprésentables photographically. He is working to raise public awareness in the new social and political situations as well as the caricature. The gap and the detour artifice are facilitated by digital technology.
The digital photomontage operates a passage in the world of cut paper, glue and assembly manual to a World logical-mathematical that enables artists photomontage to tap into a set of images larger and accessible. The world of photomontage ignored the matter and move to a digital infinitely calculable. If the digital photography sees its documentary value compromised by the processing techniques and concealment much easier. The digital photomontage that was already in the pastiche, amalgam, the sensitive copes very well with digital.
But with the development of digital images are all, regardless of their source, something in common. Un air de famille, which is difficult to describe but helps unify the area and to provide air kinship to all images passing through the computer. This style digital is quite present in the photomontage advertising.
But photomontage remains for the artists a way to offer condensed and simultaneous situations and developing a new creativity.

The Mosaics

2009-08-31T00:47:00.000-07:00

The origins of Mosaic with collage and metaphor for globalization
Archaeologists have found the earliest form of mosaic made of small stones black and white and sometimes red pebbles assembled by mortar. The Mosaic archaic appears to be the first form of collage assemblage. The oldest date back to Asia Minor VIII century BC. These forms does not called Mosaic at the outset. This name appears in the 1st century BC and his trademark booming, which will continue until fifth century evolving into geometric forms and figurative to decline in Italy and the West in general and later to almost disappear.

The mosaic appears rediscovered by painters like Cezanne and some impressionists from the late nineteenth century. Through their research work on the form and volumes they open up new avenues of research that will put the cubists on the agenda modern mosaic.

Artists from the beginning of a new century discernible contribution at all, and its fragments. The unit together and discontinuity heterogeneity of constituents of a work, harmony result of this activity assembly fascinates artists.

With this report at all with the mosaic fragments also has a predisposition to become metaphor. According Lucien Dällenbach explosion in the use of the mosaic coincides with the explosion of new communications and globalization. It gives an aesthetic dimension at the same time as political. There is talk of state mosaic speaking from Switzerland who form a unit despite a very different languages, customs and tradition. In terms of globalization and the Mosaics esthétise face of the world and makes it presentable. It gives a visible form in the world, it would be so beautiful that the world is a mosaic from which its success and development.

Exhibition to the centre Pompidou Jacques Villeglé

2009-08-28T00:26:00.000-07:00

A particular approach of a street entertainment which expresses itself by the Laceration and of takeoff of posters Of September 7th, 2008 - January 5th, 2009

Jacques Villeglé is originally a painter. He studies to the art college of Rennes where he(it) gets acquainted of Raymond Hains who will follow him all the life. He works as A to he gets acquainted with the questions of town planning and public space, before studying the architecture. In 1947 he begins to harvest on the seasides fragment, twisted chains, at which he considers as sculptures.

To leave 1949 he directs his appropriatif behavior to the only torn up posters. For him, the real artist is " lacérateur unknown person ", the collection which can be made by whoever: he so announces the moment of the disappearance of the face of the artist, giving up the place(square) to the "collector" or the collector. " The taking, he says, is the parallel of the centring of the photographer ", and himself wants, as Hains, simple collector of fragments whom he is only choosing and signing. In 1958 he drafts a development on the torn up posters entitled By The collective Realities, the prefiguration of the manifesto of the New Realism considered as the historian of Torn up unknown person, entity which he creates in 1959.

The exhibition of the Centre Pompidou collects more than hundred of works of the 1940s in our days. He approaches in a thematic way the course of the artist since the typographic explosion and the big abstract compositions colored with the debuts, until the recent rhythmic juxtapositions stemming from posters of concerts.

He limits voluntarily his plastic initiative in the taking of torn up posters, then in their transfer on painting, so making exist anonymous and collective productions in the world of the art.

Jacques Villeglé is not an author of " ready-made ", even if he does not intervene (except by rare "helps") on the posters which he takes in streets for maroufler from painting. his work consists rather in letting appear from the urban chaos the beauties hidden in the thicknesses of paper torn by anonymous hands, which sometimes also wrote on posters or dirtied them.

The poster modifies according to the successive humors, its message deteriorates and mixs to those of the posters which it covered until become illegible. Fragments of lower coats(layers) appear, provoking on the surface a carrier chaos of colors and signs of affects: a new plastic language appears which converts the surface of the poster in a symbolic arena messages of which would quarrel the ascendancy.

Photography and technical material of full light.

2009-08-27T05:06:00.000-07:00

After the second world war, in an artistic context marked by the development of the naive art or informal, number of photographers makes a commitment in a celebration of the very material. In 1956, Pierre Cordier invents the chimigramme, a technique which in full light and without enlarger, combines the physics of the paint (varnish, wax, oil) and the chemistry of the photography (revelation, fixative spray).

Eminent member of the revival of the German experimental photography according to war, Heinz Hajekhalke makes a commitment at the same time on the ways of the photographic abstraction.

Using techniques very differences as the collage(sticking) or the pictorial covering(collection) of the photographic surface, the English artist Nigel Henderson also realizes in this period some matériologiques experiments. After the series of graffiti, begun(affected) in the 1930s, Brassaï pursues its long survey(investigation) on the walls of cities.

Fascinated by the wealth of textures and structures of these taken the freshness, scaled, cracked surfaces, he devotes indefatigably to the fact that the philosopher Gaston Bachelard described glue of " musing on the material.

Digital collage, photo collage and digiscrapbooking

2009-08-27T04:44:00.000-07:00

Digital collage and photo collage

Kurt Schwitters realized its collages with lost property train tickets, button, sheets etc. Kurt Schwitters which would have a computer would make numeric collages with images found on internet, scanned commonplace images, who would be intended to be thrown in the numeric garbage cans. Numerous more and more simple software allows to recycle these images and to realize easily digital collages.

The software of photo collage is applications which allow to realize diverse creations, from its own photos or scanned photos. The beginners and the experts, can so realize collages assembly(editing), It’s is as to make of the scrapbooking with scissors, to create greeting cards, invitations or personalized images.

Added to it there are tools of retouch photo which assures you a quality result. All these creations can be naturally protected to be sent or printed.

With their interface in color, the software of photo collage the images treat with an incredible ease. You choose to open one or several projects at the same time. Of the calendar at your choice of wishes by way of the letter, the poster, confusedly or the only image, about fifty models are pre-recorded. You adapt the weft to your project.

To incorporate its own photos becomes a children's game via a double-click in frames or a simple to slide to put down. It results from it the digiscrapbooking, new which is a digital scrapbooking Which consists in making of the digital scrapbouking and the possibilities seem multiplied tenfold with this technique. A publishing software often includes very useful functions which allow to zoomer, to re-centre(re-suit), to revolve or to add shadows. It is also possible to change the frame around every photo and to add effects of filter (vagueness, flash, grey, etc.).

To insert of the text, the cliparts and the simple geometrical forms can be the final touch to be brought to your work before protecting it in the size(format) embellish with images (BMP, JPEG, JPG, PNG, TIFF) or keep it to the state of project. Always a tab " to Print collage " allows to vary the layouts and the orientation of the page.

In a bank of datum of photos can be placed the favorite photos included then in an artistic compilation. With the software of Collage of photo, you can make big collages, or quickly and easily - with armatures of photo and the special effect of mask. And every work can be repeatedly printed. A range of available tools, including the harvest, the flick, the shade. Effects of mask of Collage of photo can improve still photos very quickly. Furthermore in texts a multitude of polices can be added to the digital paintings. Hundreds of images kinds cliptart quite give can again improve the digital assembly.

Of very good works, even can be leaders of works can be to realize with this software. Andy Warhol did not make of immortal portraits with the mechanical process of the screenprinting. But all the same attention on the uniformity of the processes which make that many assemblies will be alike by the style and the composition imposed by the technique.

The software of photo collage will realize very often also what we call in paint(painting) a crust, remain to find another word for the numerous collages photo so realized.

Assembly

2009-08-26T04:37:00.000-07:00

The assembly became a very important aspect of the art when a more and more important number of artists questioned the idea of the work as a quite homogeneous, unified, obeying the hierarchical criteria associated with the traditional materials. It was not still evident that any material can enter by rights the artistic field and be assembled with the other one. The principle of the assembly consists of the configuration of diverse material, phenomenon which knows a progressive extension throughout the century. A step had already been exceeded this way by Kurt Schwitters who indicates in 1919 which used lost property as materials. This conception collided with Clément Greenberg's ideas who wanted a shape of "purity" of paint opposing in it to the principle of Pop Art which was going to appear after the second world war. For Robert Rauschenberg " the error it is to isolate the paint(painting), it is to classify her(it), j used(employed) materials others than the paint(painting), so that we can see things in a new way "

Appropriation, recovery, are decisive notions from the moment are developed the practices of the assembly, where confirmed the tendency assimilating the most heterogeneous materials corresponding to our urban society.

The Surrealism: the urban wastebasket and the oedipian dream. Its contents were updated to include accessories of showers, tires, television set, fragments of rusty engines and signboards of neon (on this point the assembly joins the pop). But usually these elements appear by fragments, where all the group of fragments establishes(constitutes) a fragment of common reality, in the style of the late Cubist; and so we constantly are playing by our current answers with the first quarter of this century. The experimental art on 1966 In 1950 the assembly is very appreciated by the new realists. Among others, Arman realizes garbage cans, where pile up rubbish, garbage through a window, and accumulations where are collected the functional objects of same one family, more or less worn. Through the accumulation, Arman introduces besides the dimension of the quantitative which contributes to divert(hijack) the status of the object envisaged in its peculiarity as well as the functions(offices) which are attributed(awarded) to him(her), advancing(moving), not her reduction, plastic consequences which begin working for and by themselves. The confrontation of several materials and techniques is a line of inescapable strength of the modern art connected in tendency widely investigated by the fact that have him sometimes indicated under the generic name of mixed techniques.

Of the usage of the collage in the Pop art

2009-08-23T23:14:00.000-07:00

The standpoint on Pop art shows that theoretical work on the modern everyday life had preceded pop art. It was attached to the concept of popular of transitory, quickly forgotten, good market and bulk product of spiritual and sexy. This artistic concept was seen soon recovered by “établishment the” artistic one. The pop one was born in England at the beginning of the years 1950 pennies the influence from intellectuals and artists who became aware of the influence of the mass media and technology. This group thought of the change under influence of the Americanism of this period according to war. The groups raised the question of the widening of the means of representation about the new theories posed by the time with people like Richard Hamilton specialist in industrial design and Eduardo Poalozzi expert of the textile design
The artists of pop reacted to the modification of the visual perception caused by the media. The technical complex, mass media and mass culture constituted to some extent the program exposing the individual within the company, defining a concept artistic again.
The topics of meeting of this English artistic movement will also relate to the artistic techniques whose joining seems to be a major element. Poalozzi realized in 1947 a series of joinings starting from comic strips, of cuts of store, advertising images. The artists expressing itself with joining will be an important component of the movement. Joining as painting was also renewed with pop art. . Pop American develops this movement. Pop vigorously taken again American art the movement born in the United Kingdom. From kooning representing expressionnism S abstracts was launched in tests of joining and included/understood perfectly the intentions of the young artists Pop New-Yorkais. Robert Rauchenberg in 1953 after the gesture celebrates obliteration of a drawing of Kooning launches out in an assembly run joining. It works on the print and is also inspired by the step John Cage. Its assemblies will make the effect of a detonator on the evolution of Pop art. It knew to continue the Dada movements of Kurt Schwitters and Marcel Duchamp. Joinings of Rauchenberg want to be a confrontation of graphic elements. It shocked by a composition based on the chance (influence of John Cage) which made burst the former pictorial order. The symbols are drawn from realities distant from/to each other and combined with waste, bone, feathers. The things thus put in report/ratio are dematerialized. This style of joining is also present at at George Brecht, Marisol, Tom Wesselmann in a different style. Resurgence of the pictorialism through the Pop one The pop one makes transparent the usual one by the means of the images, makes conscious and freezes the elements of a manipulative creation. The artist reverses and denatures the relationship between the things and their form in the advertising world. The basic technique employed is photography but the artists denature it. The series of serigraphies of portrait is connected with the pictorialism which in my opinion passes by again with the posterity with the Pop one thanks to Andy Warhol and Martial Raysse. New realistic the Pop ones and collage. Gathered in France around Pierre Restany the French artists open a new way of Pop by creating the movement of new realistic. It will be characterized by a rupture between the generations. Arman one of eminent representing of this just movement of the bottles objects, masks, limp of Coke Cola. Rotella, Hains carry out takeoffs of posters. The new realistic ones with its many artists assemblers not to say collagist is a parallel demonstration of Pop Art insofar as it integrates to him also the concept of culture popular waste, technology, the mass media publicity and the original way to design the artistic object. Conclusion Pop collage With the Pop one one also attends an adaptation of the art of collage to the new media company and consumption. The pop one is an art “factualist”. The artists work with techniques of manufacture (painting collage screen prints…) who can be also mechanical. These processes apply or use things, objects which become tables and works of art, is not this step there the object of the artistic collage which abolishes the distance between art and the life. But the Pop one is especially an ironic attitude with regard of the company and a very marked direction of the reality of the facts. It put an end to the institutional reign abstract expressionnism putting a term can be temporarily with all chattering on the introspection and the interiority of art and the end also of a negative general attitude towards collage.

Picasso and art of collage

2009-08-23T00:10:00.000-07:00

No need to introduce Picasso the most famous artist of the XXème century. One of most inventive, it admirably knew to adapt to the large currents of its century like the cubism. It invents it artistic joining in 1912 with George Braque.

In homage to Tristant Tzara theorist and poet of the movement Hobby-horse Picasso and Braque call this new technique “stuck papers”. The first work to be raised of joining was the Still life in the caned chair of Picasso.

This table emphasizes a piece of oil-cloth representing itself a cane-bottoming of chair. It exploits after fully the innovative character of this technique

After these first experiments any materials can be integrated in the fabrics of the painters cubists drink, charts to be played, subway ticket. These tables can be connected with the first artistic assemblies. This technique will have thereafter an influence in the cinema although it is not the subject of a theorization.

These first tables cubists are characterized by a research on the geometry and the forms represented: all the objects are found divided and reduced into simple geometrical forms, often of the squares. That means in fact that object is not represented such as it appears obviously, but by codes corresponding é its known reality .

In the Thirties Picasso is interested in the frames (photogramme in French) surely encouraged by Brassaï and Dora Maar. While treating and by recopying photographic plates. It reveint with the technique that frame at the beginning of the Sixties and realizes with André Villier of the assemblies of photographs and frames: it is about cutting of Picasso that Villier copies by combining them with its clean photographs. It is resulted from it 200 operations.

See Picasso Guitar

See collage Women in their toilet

Picasso widens the register of application of the principle of the papers stuck by using the newspaper. October 1912. Picasso creates a first sculpture of assembly, this “Guitar” out of paperboard, cord and wire, which it will take again during the winter 1912-1913 with sheet and wire. These principles will be taken again largely by the artists of the second part of the XXème century. Matisse at the end its life will be carried out also stuck papers.

Picasso is buried in the park of the castle of Vauvenargues in the Bouches du Rhone.

Hannah Höch 1889-1978

2009-08-16T01:43:00.001-07:00

After studying painting at Charlottenburg Hannah Höch quickly became a famous artist practicing bonding assembly in 1919 in Berlin in Germany of the Weimar Republic. She uses scissors to select subversive in magazines its raw materials are the pieces that image. She realizes with these montages with fragments of human bodies and mechanical workings. It is remarkable by manipulating the variations of scale and the diversion of expressions. She quickly Dada movement by becoming a friend of Raoul Hausmann (founder of the Dadaist trend Berlin).

It occupies a special place in the Dadaist movement. There are two trends in his collages. The first is oriented policy. In this it is a neighbor to the work of John Heartfield. The second is oriented documentary. In his motion Dada she meets Kurt Schwitters with which it disseminates Dada movement across Europe.

Nicolas Schöeffer assembly

2009-08-16T01:41:00.001-07:00

Nicolas Schöeffer he was a researcher curious of all new technologies.
He began to develop into a painting with basic forms. It Submits his work at the Salon d'Automne in 1937 and at the Salon des Independents.
He is also known for his invention of spatiodynamisme, that can be defined as "constructive and dynamic integration of space in the plastic work. ".
Modern technology should be used not sculptors contemporary sculptors Also sculptor of the twentieth century must utilize computer technology, electrical and electronic equipment which are used in industry. The cybernetic, is an essential part of his work, he said "awareness of the vital process that secures balance all phenomena."
By studying aspects of the work of multiple incredibly Nicolas Schöeffer have also retains his job on the assembly in its present sculptures consisting of technical objects that have artistic effects. The use of scaffolding in the company's Mill to design these sculptures are an example.
His work has been taken as an example by Maude Ligier PhD candidate in art history, University of Paris Sorbonne Paris IV at the symposium "back of the art of assembly in March 2008

Erro and the collage

2009-08-16T01:37:00.000-07:00

Erro was born in Ólafsvík, Iceland Gu ð mundur Gu ð mundsson in 1932 his artist's first name of Ferro. Very early he meets artists, writers and critics bound to the surrealist movement: Breton but also Matta, Brauner, Masson, Max Ernst, Man Ray, Miro and Duchamp. He realizes mosaics and papers of the poems publish " Mecanismo, mécamanifeste ", " 100 mechanical poems.

The subjects of the plastic works of Err ó are inspired by images of my comic strips and in faces(figures) of despotic politicians. He also brings back the faces of the universe of Wal Disney side by side with Greek gods and madones. We see appearing with these last ones, we see appearing the German dictator Adolf Hitler together with sound of filing down of Saddam Hussein and the Chinese communist leader Mao Tsé-Toung.

Combining paint and collage, in works which join the principles of the narrative representation, Erro proceeds gladly by kaléidoscopique juxtaposition of images borrowed from the media universe, with strong political connotations.

There are sorts of laws which allow series of images to live from the moment when they found it the others to work picturalement. So I look, sometimes for a long time, for one or several documents which are going to give life to these stored images. So that the marriage between documents can finally come true, I have to feel the possibilities of a contrast or a common tension. It also happens that the agreement likes by the strength of their confrontation.
To contemplate the works of Err ó, it is as to assemble a puzzle even if are no collages.

Numerous reviews were dedicated to him. To the museum of modern art of the City of Bets and to the national gallery of the Real tennis. In 2005, the Museum of modern and contemporary art of Palma of Majorca. Mac Val to Vitry on the Seine in Val-de-Marne exposes regularly its collages.

Edward Kienholz

2009-08-16T01:33:00.000-07:00

Edward Kienholz was born in 1927 in Fairfield, Washington State,

In 1953 he moved to Los Angeles, he founded the gallery NOW (Now Gallery), one of the first galleries of avant-garde art.

Artist conjure by Sophie Dannenmüller, PhD candidate in art history, University of Paris I then symposion art Assembly in paris March 2008

Edward Kienholz was not the only artist from Los Angeles to use the assembly as a commentary under heavy agreed policies. The side crude and popular inherent in the assembly gave birth to an idiom that works well beyond the field of fine arts.

He is one of the undisputed masters of the art of assemblage, it often creates not just objects, but tables and multi-faceted environments complete falling as much theatre as sculpture.

As a symbol of the art of this period, evokes a great religious and political controversy of the moment, the controversy that continues to divide Americans several decades later. The assembly "illegal operation 1962" also pushing hard and today that at the time, this table represents the aftermath of a bloody abortion - as were a time all abortion in the USA - and recalls the conditions unworthy, unregulated and causes of infection in which many of these acts were carried out. The legal status of most abortions made the USA has evolved through long and numerous legal battles and decisions of justices. Yet the work of Kienholz remains an indictment of practices, or rather misconduct, medical illegal and a political faction whose goals could be to reduce abortion in a state of clandestine activity.

The tables assemblages of Edward Kienholz, consisting of objects, photographs, paintings and they talk about life and death, fear of death, he worked on war, social exclusion or racial, loneliness. In his assemblages, nothing is left to chance: plastic, rags, scrap metal, rubber, wire, plaster, autos, furniture, clothing, medical instruments, tombstones… Kienholz does not, as "Junkart" as Robert Rauschenberg, these various objects for what they contain or antibeauté beauty, it incorporates these elements into a whole that is the environment, "painting" final. Nothing is transfigured, nothing is degraded.

Edward Kienholz died in 1994 at Sandport in Idaho. It was not until 1996 that the Whitney Museum in New York devotes a retrospective exhibition.

Jean Dubuffet

2009-08-16T01:32:00.002-07:00

Dubuffet, one of the artists more surprising XXe century, is the inventor par excellence of new plastic languages. It appreciated L art of joining and the assembly. Enemy of the culture and the art of the museums, anarchist, atheist, antimilitarist, antipatriotic, restive with any category (“there is no abstract art or the art is always”), it counts among these creators which modified our vision of art, even the framework of our urban life. Its work encourages to look at differently the ground, the silhouettes of the passers by, the faces where interpenetrate organically the flesh, the plant or the mineral, the hierarchy between the things and the people. Its career of dynamiter consists, of 1942 to 1985, in an extraordinary labour of fruitfulness and regularity, with the research of the release of very forced. This subversive way, far from any standard established, the conduit towards the art of childhood and the madness to which it gives again its letters of nobility (rough art). It inclines it with outrageous forms, the meanders and the expressive signs of the graffiti, with the exploration of materials - bituminizes, sand, vegetable fibres. This mixture assigns a major place to him among the artists matierists, until its great mental series of Hourloupe (1962-1974), prelude to the gestural graphics of the Test cards (1983). Inventive prolific writer of a language, the “absolute jargon”, polemist, sometimes cruel, it leaves irreplaceable testimonys on his vision of art in Prospectus to the amateurs of any kind (1946), Biographie with the step of race (1985); he devotes also many texts to rough art. Are reproduced here: “Anticulturelles Positions” (1951-1963); “Place with the antisocial behaviour” (February 1961); “Radiophonic Maintenance with George Ribemont-Dessaignes” (March 1958) and of the notes for a televised interview (1960). Jean Dubuffet was born in Le Havre in 1901, and it is there that it will pass the major part of his youth. It will make there also its first weapons of painter while entering in 1916 at the School of the Art schools of the city. Two years later it will leave Le Havre for Paris where it will attend in particular the Julian institute. Many open of Dubuffet uses the techniques of joining. They use mixed techniques of oil-base paint thickened with materials as sand, the tar and the straw, giving to its parts an exceptionally texturized surface and a rough consistency. Dubuffet works with a great freedom of the techniques and materials among most absurd. Because for him, it is the material which clearly conditions the effect produced by surface. “Art must be born from material and the tool.” Also it composes of strange landscapes of its invention (Matériologies and Texturologies, 1957-1960), celebrating the ground by strewing its fabrics with tar, of rust, triturating sand, the remains of sponges, sticking wings of butterflies or isorel on matched or ruffled papers, boards or fabrics painted with oil. It paints graffiti incised with force in the thickness of an abstract part, seeking its inspiration in the matter without nobility, being renewed constantly.

Daniel Spoerri

2009-08-16T01:32:00.001-07:00

Daniel Spoerri the name of his uncle, spent his childhood in Switzerland where, very young, he befriended Jean Tinguely.
In 1960, while collecting scrap for Tinguely, he had the paste objects collected in bulk on a support that rallied to the vertical, thus setting a time device for a moment due to chance. It was the birth of his paintings traps which mainly immortalize reliefs meals, as is the case for the Hungarian meal and other dinners exposure 723 kitchen utensils. The company culminates with the opening of a restaurant Permanent Spoerri Dusseldorf in 1968. (see art symposium return of the assembly)
With the tables traps, Spoerri develops the idea of détrompe the eye, works in which he combines a classic table illusionist, a chromo, "with objects whose function is to demystify this image, the relegating among the objects of the banality.

it also produced a series of collages mounting classics.
Spoerri reveals the beauty of objects and assemble the parts which could have a common past. Their assembly seems a small operation, but there lies the art. First research, then sort of found objects that have a common history and to finish the assembly of parts of the most successful.

Roman Cieslewicz graphism and collage

2009-08-16T01:30:00.001-07:00

Christian Bonnefoi

2009-08-16T01:28:00.000-07:00

Christian Bonnefoi is student. Hefollows Hubert Damisch's lessons at the School of the High Studies. He reads the philosophers, the sociologists, Roland Barthes. As he could not there any more, he stops the reading and the studies. He begins painting and realizing collages. It gives very fast an abstraction in search of its energy, of its dynamism, of its process. It also gives a paint(painting) which owes to the collage, to the assembly, but always in break a lot. Today, the Center Georges Pompidou in Paris proposes a review of his work.

Since its first works in year 1970 c is unmistakably the collage (an evolution of the work Cubist on the space of the picture(board): the picture as the surface which was of use as intellectual organization to the work of Bonnefoi. The conceived and practical collage literally : This invention of the Cubists supposed a definition of the surface as the set(group) or composition of plan differently directed and defined each by a mode of chromatic intensity; c is indeed the other thing(matter) than the geometrical puzzle: an invention of the space which results from a folding of the surface; a reinvention of the surface of the picture(board) resulting from the connection and from the superimposing(overlapping) of autonomous surfaces. The picture is the involvement of tensions enters incompatible relative that are faces(figures) geometrical and the degrees of chromatic intensity; colors define themselves practically optiquement ) by specific modes of expansion (analogically) by durations of typified musical). The elaboration of solution of balance of these two orders practically drew one big part(party) of the aesthetic field of works so diverse and so inaugural as that of Mondrian, Albers, Rothko Extrait of the book of Jean Louis Shefer " Dialogue of the feather and the brush "

Christian Bonnefoi Exposition appearance of the visible from October 22nd, 2008 till January 5th, 2009 Paris Cenre Pompidou

Philibert Charrin art collage

2009-08-16T01:21:00.000-07:00

PHILIBERT-CHARRIN (1920 - 2007) Figure uncontested of the art of joining during 50 years, it carries out “painting-joinings” starting from materials, pieces of paper, most various of fabric or partitions, old subway tickets etc… Pierre Brisset in the revie the Eye in December 1985 wrote: ”… Regarded since too a long time as minor art, and even a diversion for (poor) surrealist delayed which is satisfied to replace the head of the Mona Lisa by that of a rhinoceros or to finish in tail of the Venus body of the titien, joining finds with Charrin its true identity. Philippe Charrin is not only a one creator full with imagination and sensitivity, but still a painter authenticates who, even without lesecours brush manages, as Jean-François chabrun wrote it at one time, “to translate” the values of the true painting”

Art collage with Georges Braque

2009-08-16T01:20:00.000-07:00

Inventor of the cubism, George Braque (Argenteuil 1882-Paris 1963) is an outstanding figure of painting in France from which it sticks to the wire of his work to renew the Chick tradition with Chardin, Corot and especially Cézanne. With Picasso he invented joining cubist. Many exposures were devoted to him but it is the first time that the landscape - of Estaque with Varengeville- is the subject of an exposure and a book. It is the occasion to specify the course of Directs in its personal reading of works of Cézanne, and to follow the adventure through the landscape of that which one agrees to saying that it knew to learn and carry towards other prospects the lessons for the Master of Aix celebrated in this year the centenary for its disappearance. The exposure and the catalogue try to highlight how much the landscape was a factor of development at key times in the course of Directs. The single experiments of the fauvism and the cubism constitute as many constructive stages between Antwerp, Estaque, Ciotat, Céret, the Guyon Rock or Career-Saint-Denis, before the landscapes of its youth, Dieppe and Varengeville, return since 1928, to haunt its mental space, the sober, sensitive universe and recluse of its last years: The texts of Éric Darragon, Claude Frontisi, Alvine Martin, Theodore Reff and Veronique Serrano contribute to widen and specify the knowledge of the work of this essential artist.

From 1912, Brauque brings in within its paintings these signs images at once( at the same time) color and materials, " machine to see ", to resume the expression of paulhan.

" J have fai to enter the sculpture the painting; that was my first stuck papers. Aveceux, the color returned to me of a cop, I, ' more had to force. The fight was there always, but it took place without me, on the painting.

Rodtchenko Alexandre 1851 1956

2009-08-15T00:57:00.001-07:00

One of the most versatile artists of Russia for years 1922 1924 and leader of the Russian avant. He was a painter and graphic artist. He designed posters for the film, for stores factories. In correlation with posters and models book Rodtchenko interest between 1922 and 1924 in collage. He said the painting easel obsolete and turns to technology, and especially photography. He spent the rest of his life to develop with Lissitsky photomontage, whose precursor was Heartfield. It tries to give his collages in a visual equivalent of my poetry of Mayakovsky and the result will be an altogether synthetic original photomontage and placing no scene. He developed a constructivist art. At the time of the Revolution of 1917 he hosted the Federation of the Union of Painters and works for the EWL magazine in which he holds the coverage.
His work is complemented by many formal research, combining painting, gluing or typography.

In 1928, the magazine Sovetskoïe foto batteries Rodtchenko too inspired by the Western research (including the Bauhaus and therefore Moholy - Nagy. This is the beginning of a long controversy about it, which would cost him a lot of energy to defending his photographic work.

Arman art assembly and "new realiste"

2009-08-15T00:55:00.000-07:00

The creativity of Arman does not know borders. Each one of its works is the occasion to approach the daily newspaper under an innovative angle and incites us to reflect on the gasoline-even of art. The series Nec mergitur (it will not run), gone back to 1998, is halfway between painting and volume. Arman gives up accumulations and turns its attention on the object as an entity to immerse it in the matter. The use of dull colors expresses its incomprehension in front of the devastation of the oil slicks. Marcelin Pleynet recalls the singular and exemplary course of an artist who knew to preserve his freedom while releasing painting. Because Arman is a painter above all. Its works rest on a poetic resonance and a fertile intelligence. They testify to a meeting between the sensitivity of the creator and the great events of our century. In its discussion with Tita Reut, Arman entrusts the keys of Nec mergitur to us. Of this work, it was drawn 250 specimens numbered from 1 to 225, 15 specimens H.C., 10 specimens E.A., accompanied for chacuns by the “shipwreck by a glove”, which constitute the de luxe edition. The painter realizes whereas all the objects can replace its brushes: It is the time of the Paces of objects which it exposes in Milan in 1959, and on which J. Brisso carries out a film with a music of Pierre Scheaffer. Objects such as a ball of glass, springs of mattress, rollers etc… are impregnated pigments coloured and put moving on the fabric where they leave traces. Sometimes, it violently projects these objects on the fabric: They are then Angers of Objects, (exposure in Milan in 1960), or Angers of Arman. They fall in the form from violoncello or coffee mill, on a wood panel, like a dislocated body precipitated of the sixth stage on the paving stone of a court. But Arman wants any neither with the music nor with anybody. If it preserves the corpse and exposes it like such, it is so that its invaluable gesture is not lost. In 1959, Arman achieves its great gesture by adapting the “Dustbins”, for what they are by oneself and by putting them in bulk. It realizes also strange capacity of the Accumulation of the same object in a tank.

Jean Arp

2009-08-15T00:54:00.000-07:00

Born in Strasbourg in 1886, from an Alsatian mother and a German father, Jean Arp spends the first twenty years of his life between Strasbourg and Weggis beside Lucerne, intersected with stays in Paris, Weimar and Berlin. He maintains very early intense contacts with the artists who seek to free themselves from the traditional forms of art. In 1910, it melts with his friend Walter Helbig “DER Modern Bund”. In 1912, it meets Kandinsky. “Its workshop, word, form and color amalgamated themselves and transformed themselves into worlds fabulous, amazing, ever seen”. Arp collaborates in the Almanac of Blaue Reiter and exposes with Delaunay, the Falconer, Franz Marc and Paul Klee. Neither painting nor sculpture, the few eight hundred reliefs which Arp produced, cofounder of the movement hobby-horse, were generated by him “according to laws of fate's”, like nature plastician, fluid and ductile, gives birth to its forms indefinitely. Breaking by the denial of humour with the ascending romantic one of surrealist, Arp releases here the unconscious one of its too pressing and too literary oneiric load. Instead of proceeding to the setting at the day of images resulting from obscure forces, and although being declared inspired by the major sources of the natural genesis, this poetic cosmology has initially as a function to produce, in a purging of imaginary, anti-direction (Gegensinn): the paramount one in on this side same of any primitivism. The unconscious one becomes concrete among us, objectified per as many “fetishes” to material and cutting Nets and polished. Very other then is the philosophy of the dream, a future opens to the sleeper who, with his half-sleep, on the edge of his alarm clock, surrounds himself by images become small concretions, “fruits of unconscious”, according to a onirism laid out in orchard of a new life.

Art collage with Georges Braque

2009-08-15T00:53:00.000-07:00

Transfer with the transcryl "Lefranc and Bourgeois"

2009-08-14T00:52:00.000-07:00

This product allows to transfer it by transfer, an image beforehand printed on not ice-cold paper.
The base of the transfer: photocopies black and white or colors and printed images.
Thinner: water Support of the transfer: any support smooth, raw or already painted in the oil or in the acrylic. Avoid inabsorbants supports or fat.
Cleaning of the material : in the soapy water.

Note: avoid the transfer of postcards, as well as the impressions(printings) having received a varnish defender.

Stage 1: application of Transcryl: protect your work plan with a plastic sheet or from some oilcloth. Apply the transcryl in a layer to the cut paper, embellish with images pre-printed matter to be transferred. Make extend beyond the layer of transcryl of a centimeter everything around the image to be transferred. Let dry 20 minutes. Then, apply the second layer, by crossingit with regard to the first one. Begin again this operation once again, always by crossing layers. Indeed let dry between every layer from 15 till 20 minutes.

Stage 2: after 24 hours of drying: cut by taking a margin 0.5 cms wide everything around the printing so plasticized.
Immerse the paper in the tepid water approximately from 20 till 30 minutes, to facilitate the unsticking of the transfer.

Stage 3: remove the typing paper: peel the paper in the back of the printing, in the rolling with fingers or by means of a sponge with back wet gratteur. Loosen(kick away) so the plastic film on which the image will be reproduced.

Stage 4: time(weather) of drying of the plastic film: spread the obtained tranfert plastic film on a very smooth surface and wipe(suffer) him(it) with an absorbing paper, let dry 6 hours.

Stage 5: apply a layer of transcryl to your support. Stick then your transfer and eliminate air bubbles with a hard roller, or finger. Let dry the object realize 24 hours.

Photoplastic art and photomontage

2009-08-08T23:34:00.000-07:00

According to Moholy Nagy of subtle nuances between the techniques of photomontage and the photoplastic

The photoplastic art has the same origin as the photomontage the recording photographs.

The first photomontages consisted for example in collecting in a portrait of group of the persons who had not been able to photographed individually, Or to present persons in a particular decoration which n has nothing to do with the first recording.

It is as well as were thought the first photomontages. The Dadaists brought him a more precise and theoretical direction. The photomontages had objective to shock and to denounce, to protest, either to illustrate poems or to realize visual poems.

The photoplastic art is a more sophisticated process which combines the photomontage and the drawing or the track. The difference is perceptible in the technique It is a confusion organized in the sense of Moholy Nagy provided with an organizing center. The photoplastic art is clearer and more or less charged that the photomontage and rigorous. It has an educational and educational share more than the photomontage which suggests her ideas more vague as the poetry. It shows condensed situations, susceptible to start associations of ideas in an extraordinary speed. " According to Moholy Nagy

The photoplastic art can synthetize in an image of the effects of transparency running of our environment. For example the glance through the window of a bus, the reflections of the windows of the automobiles which are reflected in the shop windows of stores. In the photoplastic art these elements are not summarized but synthetized by overlapping and by merging. The effects must be immediately perceptible so that the image is productive. She has to allow a representation of ideas which corresponds to the spirit of the times and to the culture of moment.

The photoplastic art does not aim at the composition to affect an optical effect but a representation of idea.

The photoplastic art can serve to summarize a whole film or a play either an idea or a feeling but also has purposes of advertising and shows.

According to Moholy Nagy Peinture, photography, film Edition folio

Thomas Hisrchhorn

2009-08-08T01:37:00.001-07:00

Thomas Hirschhorn develops an acute sense of collage mounting assembly and recovery. He uses cardboard, scotch, aluminium sheets and plays on the image of the network by intervening with a worthless material, which has a connotation, however, ecological and misérabiliste.Il already exists a strong tradition of the recovery in the Art in Switzerland as Frank Gehry and Jean Tinguely and Bernard Luginbühl. .
Thomas Hirschhorn appropriates elements used by the excluded, cartons, signs to assert its own message. In fact the work does not lie in the creation of an object or a painting, but in the invention of a method, a way of presenting works or questions. It develops and provides a metaphor for the network with its pipes paper twisted aluminium in particular. This is an original formulation of the report on the subject, artwork, it is no longer so many objects, but texts, which are real documents, directed, offered to the curiosity of the public in a gesture exposure baroque rhetoric.

Hirschhorn is working on the presentation, exhibition, presentation, the specificity of this language, it treats as an instrument rhetoric, as compared to other modes of expression. It can be finding sources and try many parallels: the Dadaist collage, but in this case the tradition of view, or the use of the model in some historical museums, model that can be found in architecture and in the Many artists in recent years. The main source is the practice of various excluded who know perfectly send messages using what they find to do so. A feature of the work Hirschhorn is still very outside in his presentation, he retains a great distance, is not involved personally in an expressionist.

In 2000 he won the Prix Marcel Duchamp "the winner after the jury showed a real maturity and a great sense of responsibility as an artist, and also that his work is a unique and a remarkable inventiveness. "

Arnulf Rainer

2009-08-08T01:36:00.001-07:00

Arnulf Rainer was born in 1929 in Austria he becomes a painter famous at the world level for his abstract informal art. Rainer was triumphantly recognized on 1993 of the Museum Arnulf Raine in New York

We can speak about Rainer as a user of the photography as the material. He is more recognized for his works today in which he uses mixed techniques: leaving pre-existent images, such as photos, he recovers them of paint, so modifying the meaning of the initial image.

This pictorial process which Arnulf Rainer likes particularly consists in using mostly photography and reproductions of works of the other artists, which he recovers of " surillustrations " either " surpeintures " which obviously change the sense it or reveal in them a new, unexpected sense. For some years, the painter applies this process to diverse illustrations.

The artist overloads and blurs deliberately the photos of death masks of big men. Frédéric le Grand, Canova, Beethoven, Nietzsche), while maintaining their names in the titles of these works. The directory of the expressionism abstracts - projections of paint(painting), raturages, scratches …

Is so put in the service of an art by no means abstract and which has hardly affinity with the Austrian or German expressionism to which we assimilate him too often. Rather it would be necessary to speak about an art of the disfigurement.

It is so very known for its collection of naive art collected in a time(period) when this art interested only doctors psychiatrists.

Polke

2009-08-08T01:34:00.002-07:00

The photographic practice at Sigmar Polke

To Poke a photograph is never finished No one can transform, to transfer him to other senses. Polke loves injuries in the shooting, development. C is the ratage, the accident errors, abuse of interest and highlights.

Major contemporary artist Sigmar Polke remains little known publicly french. Interrogate its photographic practices to measure the importance of experimentation dating from 1960.

Xavier Domino our present, not without humor, a wide range of protocols implemented and the results achieved. A description of the components of "Polkographie" follows a "non medium's land" where neighboring photographs and paintings; finally "Photopolkie" the photographic opens a thorough overview of the work, and its originality based on the crossing improbable of Pop Art and Post Modernism.

Pierre Cordier

2009-08-08T01:34:00.001-07:00

The history of the photography is populated with a succession aware or unconscious. In 1956, Pierre Cordier invents a process which he will name chimigramme. Fifty years later, he continues to investigate the infinite resources of his process which combines the physics of the paint (varnished, wax, oil) and the chemistry of the photography (photosensitive emulsion, revelation, fixative spray); without camera, without enlarger and in full light.

The chimigramme which appears from then on as an intimate fusion of both techniques, always gives place to an interesting debate. The purpose of Ropemaker is to obtain an image which looks like nothing else than a chimigramme, an image free of any reference: neither paint(painting), nor photography, nor drawing in the computer.

The exhibition(exposure) " Pierre Cordier, Age fifty of the chimigramme " establishes(constitutes) the review the most important review of its work after that presented in Brussels in 1988 to the Museum of modern Art

Martha Rosler

2009-08-08T01:33:00.001-07:00

Marcel Duchamp

2009-08-08T01:32:00.001-07:00

MAN RAY

2009-08-08T01:30:00.000-07:00

Many new artistic forms rest on the experiments of Man Ray which, after beginnings of draughtsmen advertising executive in New York, works since 1916 with Marcel Duchamp and will become one of the representatives of Dadaïste and surrealism.

For fifty-year-old Man ray we tend to widen the limits of the recognized art: in the paint by the use of materials foreign to the painting(cloth) and to the color, in the sculpture by the employment of the other materials that the classic bronze or the stone which give the stamp of the work of art. To reach this purpose, it was necessary to have appeal to new sources of inspiration such as the primitive art, the works of the mental patients and the children, the realm of dreams, the black magic, the mathematics and the automatic or unchecked drives by the logic.

For this reason it appears in this heading because it is regarded as the second inventor of the frame and that its work comprises many photomontage and collage (Boardwalk).

One can say that its work is the sensual expression poético thought of Marcel Duchamp. May Ray describes the invention of the frame like an action “automatic” unconscious, accomplished in darkroom, which connects its with the automatic writing of her surrealist colleagues Breton and Soupault. Its frames show completely ordinary, but transformed objects of appearance “so curious to observe to observe. He called already this photographic work of the rayographes.

Between 1920 and 1930, Man Ray makes party of the artists which presents a new type of photographs. The technical innovation leaves to the photographers a great freedom which the various artistic and literary currents irrigate. The photomontage open new ways, testify to the boiling and the abundance of research.

Barbara Kruger

2009-08-08T01:29:00.000-07:00

Barbara Kruger made known itself by her feminist photographic assemblies which it carries out using advertising images and of slogans. She analyzes with work her work the reports/ratios of forces and the abusive use of providing with the image. She is a feminist but she include also the minorities nun and policy in his critic of the capacity. For it the company determines those which correspond to the standard and which are worthy to have share with the privilege of the capacity.

This state of affair is still of course integrated in the contemporary company, and it is maintained using subtle means through publicity. It include in these photographs by assembly of the texts like “Your desire of you even in the other” “your erotized combat” “your selective memory”

A key image of the assemblies of Barbara Kruger represents a magnet which attracts hundreds of nails, thus symbolizing the masses which one can handle, to justify easily, quickly to control. The leaders, dictators can make profitable this malleability of the masses. But the mass seems desired to be controlled. the masses do not have they not a sadomasochistic tendency masochist that slogans “fear as us” accompanies the photograph by a crowd.

The work of Barbara Kruger conceives his images as advertising bills whose meaning effectiveness is born from the photographic confrontation of assembly and slogan. Its work grants, as with other artists, a broad place with material photographs. Works of Barbara Kruger are at the same time images to see and writings deciphered.

Barbara Kruger of Ann Goldstein

Hurteau philippe

2009-08-08T01:27:00.000-07:00

The work of philippe Hurteau uses directly the images of the media to feed its work also he has a place in this series d artists His work confronts more directly with the images and with the contemporary pictures, until the break concretized by the series Television ( 1995 ), where the picture(board) is directly likened to the surface of a screen.

Through the television figure of TV programs (newspaper TV, scenes(stages) of the weather report, the games his paint tempts a pictorial translation of the television.

According to Hurteau the television amounts not only to the media of television, but also means a new report(relationship) between the human figure and the physical and mental space leads(infers) by the contemporary universe. The numeric paintings of the series Channel(Canal) R (1999) are seizures of screens of film X subjected to the encoding. This reflection widens then in the new visibilities produced by the video or the Internet networks. Among the first ones(nights) in France, this search(research) announces the interest of an increasing number of painters for the media images and the images in movement (philosopher Stéphanie Katz speaking on this matter about " painters of the screen ").

His painting could define itself as a subjective anthropology of the contemporary individual today, evolving in a standardized, globalized imaginary space, politicized, subjected to the violence of the powers and the technology.

Philippe Hurteau is a painter who works on the numeric images He confronts his paint(painting) in the present time by means of the contemporary images, in particular that of screen (TV, computer, cams) screen shots, the images found on Internet are used as materials, worked on computer ( the numeric(digital) sketches) and registered then in the pictorial material (by a process which is sometimes inspired by the encoding)

Through various series developed at the same time, he tries to formulate an image of the contemporary condition of the individual, the interiority of which is subjected more and more violently in request of the system and the media industry. Showing the tension between body and technology, Philippe Hurteau speaks about his paint(painting) as one about tragic impressionism of the digital age or about a virtual space where the figure comes to get lost

Gilbert and George

2009-08-07T12:50:00.000-07:00

The artist Gilbert and George become famous at the end of the 60s by appearing as " alive sculptures ". Gilbert and George spread almost everywhere their image and their name. They are present in the high places of the contemporary art, all over the world Since the 70s, they realize photos of big size, in several parts(parties) in which their self-portraits play a major role.

They are fast going to realize big photographic assemblies consisted of panels assembled, encircled with black, in the style of the stained glasses of the Middle Ages, where we always find the same charter of colors: black, white and red.

It is only in 1985 when will appear the other violent and contrasted colors. In constancy representation, they realized, in important and multiple half a century, a work where collages, "performances", photos, and what we can call the art photographs.

The role which plays the sexuality is so important here as in the other works of Gilbert and George. According to their point of view the sex has to celebrate, not only as source of life but also as act of personal liberation and pure pleasure.

The artists who have a certain fame take place on the same plan as the stars of the cinema or the song. The museum of modern art becomes the privileged place of their communication not to say their overestimation. Gilbert and George uses the art photograph to treat openly subjects as the drug and the homosexuality, held generally taken away from the universe of the art. They however want not to be agitators but as presenters of a new sensibility to the marginal groups. Gilbert and George approach the taboo subjects, and provocative. While their everyday life is countered it of a deliberated conformity

Carole Schneemann

2009-08-07T12:48:00.000-07:00

The performances by Carole Schneemann are as provocative feminist patriarchal to the idea that women can be read and interpreted. It was for her to regain possession of his body, to change the status, look at women in body differentiating male and female bodies.

We must remember that the sixties saw the beginning of a real change in the practices of the visual arts in Europe and the United States. This change coincides with the changes in popular consciousness, a revolt against the social and political foundations. Painting and sculpture which until now reigned supreme happening in the background suspicious Carole Schneemann uses his body so provocative, through multiple formats: performance, dance, film, painting, drawing, photography, video…
Born in 1939 in Fox Chase, a small town in Kentucky, she moved to New York, where she still resides. His first exhibition was held in 1972 at the Museum of the faculty of Berkeley, California in the middle and wave hippie… since 1979, it states in Europe, in Amsterdam. In New York, it focuses on the NY School of painting and its research aimed at pushing the limits of the table and traditional painting. His early work using many materials and it is based assemblies, the famous boxes of Joseph Cornell.
Between 1962 and 1964, she worked exclusively on the female body, especially on the male gaze. She will also participate in other performance and visual artists not least as Claes Oldenburg, Robert Rauschenberg and Bob Morris.
Also in this period, the feminist consciousness has also encouraged women artists to reclaim their own image and to explore new strategies of representation and artistic practices could save a woman and her demeaning image of his position, following the matriarchal system.
With Eye Body (1963), she painted his body and is covered in snakes, his studio became a stage play of mirrors, ropes, tarps, glue ... His body is a material among others. In Up to and Including her Limits in 1976, it proposes a new approach to painting hangs in a harness, the body suspended, gravitation, it's experiment in pictorial space to the limits of his body and forced.
"When the body is in the eye, the visual sensations seized of the entire body." Outlining her menstrual blood on fabrics, in Blood Work Diary, 1972. But his work disturbing, especially feminists public: in his film, an orgy filmed, Meat Joy (Joy of the Chair, 1964), the players play with naked feed and the artist plays a nymphomaniac, it shown in a film festival for women in Chicago. It shocked the public by what is perceived as a porno film classic. A female hostility of the same type welcomes his other film Fuses (fuses) in 1967, in which she filmed the composer James Tenney doing love. And his famous Interior Scroll performance had caused outrage many feminists !
It will affect many avant-garde feminist as Kathy Acker, Lyndia Lunch, Diamanda Galas, but also Feminist theorists like Judith Butler, and even artists' male 'as Mathew Barney. His books are as important both in the field of art that feminism! With More than Meat Joy published in 1979, she theorizes performance.

The photographs and films are the result of these assemblies where it is often incorporated in the material.Sophie Delpreux Mistress lecturer in art history University of Lyon II. Highlighted the work Carole Schneemann during the symposium INHA "Back on the art of assembly" in March 2008

Photography like material Christian Boltanski.

2009-08-07T12:45:00.000-07:00

Childhood and death are the two major subjects of the work of Christian Boltanski.
The photographs which they present are framed and lit by small lights which surround the faces. The portraits become icons. It installs in large rooms of the thousands of old clothes as a kind of “landscape of the memories” each dress symbolizes a body which disappeared the bodies of the children died in the camps Nazis like those from the missing children.

While declaring “I paint with photography Jean Boltanski is one of the emblematic figures of this movement which goes against the design according to which the artist must purify his art of all the borrowed elements, and to release specificity, the gasoline from it.
It S also acts to leave the mystic of the purity of the medium. It's also acts in its work to choose combinative of the practices and materials.

Photography like material with Andy Warhol

2009-08-07T08:45:00.000-07:00

Since the beginning of 60 years, Andy warhol result of the standardization the theme of his art. It lays down on the canvas tickets banks, soup cans etc. .. He is an artist inseparable from the Pop art of the 1960's. It makes the ground very accurately without alienating, except for the expansion. His serigraphs our place in the presence of an entire universe. If it did not use the photograph as a collage assembling his paintings become unreal and away from reality. The form is no longer defined by the color, it dissolves in the transparency of the color.

It is in a context of double choice: the technique would use photographic silkscreen on canvas, and that, iconographic, extract of the press photographs of figures and scenes of the most emblematic and most of the daily American popular culture: the film star, show business and politics (Elvis Presley, Marilyn Monroe, Jackie Kennedy and Liz Taylor). As the facts of winter. It appropriates stereotypes of sensational media in the protected area of great art and that using photography as these paintings are almost all printed copies of photographs of sensational media.
Mechanization is at the centre of the artistic process of Warhol. Its goal is to produce his paintings as quickly as possible and with art to painting industrial estate. It proclaims that what is true for industry is true needs to be for art. Mechanization, ie the abolition of the author, gesture, expression is not limited solely to the painting. Warhol goes further by using photography in the most mechanical. First, by choosing existing clichés and published in the press.
Andy Warhol is an essential step in the use of photography as a subject.

Picasso Guitar

2009-07-29T00:31:00.000-07:00

This table Guitar done by Picasso in printemps1926 which is composed of strings, newsprint, mop and nails surtoile painted Aragon gave a pretext for the following thought: "Around the same time, he arrived as Picasso did something very serious. He grabbed a shirt dirty and he settled on a canvas with a thread and a needle. And as with him any runs guitar, it was a guitar, for example. He made a collage with nails coming out of the picture. "

This "serious matter" which speaks Aragon is in fact one of the strongest works, the most unyielding of the art of Picasso, as violence across expresses it, it seems to involve evil forces which is the magic inherent in the work of a painter.

This painting goes hand in hand with another guitar which is like its counterpart: in one, the nails are driven into the support, in the other, they aggressively kinds of table. Poverty the misérabilisme of these dirty and torn rags, one of which is torn cross-shaped, the other hole, the strings that transpercent paintings, nails and tears, it gives off a feeling of malaise, pain, and strange that gives these works the sacred dimension of horror.

None decorative curve, no charm of color, not just cruel soften the blow of this table. It's an expression of anger aggressive and powerful in a language that makes it painfully clear Penrose writes. Picasso had even thought of walnut razor blades on the corners of the field to what is cuts lifting the fingers.

The choice of fabric as the basic material and technology sewing, sewing needle with yarn and is a feature that is found in a series of small cardboard guitars with pieces of tulle, twine and nails, dating from the same period. A page of a book shows we also collected.

This dimension secret and magical works are confirmed in him and by his own statements. In an interview with CarltonLake, it is himself who made the rapprochement between his guitar and the paintings of Lascaux and Altamira

Pablo Picasso Women at their toilette 1938

2009-07-29T00:27:00.001-07:00

This very large collage (448 X 299) is at the root of a draft tapestry done by wallpapers cut. Picasso draws in the wallpaper by cutting in color. Matisse resume this manner to do with his papers stuck in 1952. Picasso uses the power of suggestion formal and material. False walls are false bottom wood for the frame and the floor, the grounds for flower for the flowers.
The whole theme of this already worked by Picasso that of the headdress. A woman standing umbrella a woman sitting looking at himself in a mirror that he brings a third woman. C is a portrait reflected in a mirror. Should there see this painting as a painting where a collage of work that looks at the model into two distinct images of the reality and the reflection that of the imagination of the same fantasy? The big picture seems to be the problem of bonding assembly.

Aragon collage and Matisse - the sky cut 1965

2009-07-27T12:19:00.001-07:00

When I see a lot of this great painter, he was in the period when it seemed like a game, it had already begun between two canvas, great season drawing to combine what had the air of sorts of models First, glue tables designed with assembly of coloured paper… Faced with new paintings by Morning "j Aragon had this childishness to talk about wallpaper, and I saw much of the eye froncement Matisse that his intention in my mouth as a pejorative expression. I had my desire to catch up. So I tried to erase the impression made m'excusant of inconsistency there was to learn the wallpaper, just the cut which was borrowed from color paper cut, not painted.

Because own collage matissiens was precisely to be collages of coloured paper, and non-representational objects…

Matisse me out that his collages were cut above all, it lay in that word then. Some painted cutouts. Because if the color was not provided in the table with a brush, she was prepared to gouache on paper sheets, in which the chisel draws afterthought. That was what Matisse insisted, and that rather than drawing drum, as in the earlier painting, always the first to color, rather than the design ménageât, cernât, "preparations" spaces that could have forms of flowers , objects, characters, on the funds, plans painted the composition, the color here was painted first, then cut, ie designed afterthought by the chisel, surrounded by the form of elements of the composition. So it was quite wrong to say, as I did, that the use of coloured paper replaced in the paint, the color chosen and implemented prior to the contrary had gouache dominant character here, it was also far from the collage that non-painted wallpaper, ie the false pretence.

The cut Matisse recréaient through other channels divine relations between objects in nature. It is no doubt that, for him, paste, which was often also pick up, with the variation of space and mass ratio then he brought to these areas combined, playing with them several times… paste was painted. Beyond even the fact that the paper had been cut materially painted by him.

Aragon 1965

Henri Matisse and art collage

2009-07-27T12:05:00.000-07:00

A collage by Matisse, the black spots, they are the bugs and it did not completely stick the pieces which fall apart a little to accentuate the effect of movement. Extraordinary! The third great painter who it first used joining, it is George Braque and also Max Ernst, the Dada movement and Prévert. Matisse, will also employ the techniques of joining in its works. Indeed, it is? assistance of paper which it will build the bodies of the series of naked blue (1952).

Joining woman and monkeys (1952) are representative of this series of joinings. Matisse formerly prepared its tables with cut out papers but it will work out an autonomous technique only between 1943 and 1950. It takes large white blocks, painted with the gouache, cuts out there various forms which it then sticks on a white zone. Matisse gives following precise details about these joinings “cut out paper enables me to draw in the color, for me it acts of a simplication. Instead of tracing contours and to put at it couleurn one transforming the other, I draw directly in the color. This significance guarantees precise dissolves of the two means which are nothing any more but one. I do not advise absolutely this form of expression to be exerted. It is a result not a starting point. It supposes an infinite subtlety and a long experiment”. L artist named this method “to draw with scissors”. The compositions carried out thus are at the same time full with life, charming and solemn. At the beginning the talbeau Woman and Singe that Matisse conceived for its hotel room Regina in Nice were much smaller and showed only the sitted women and the grenades.

These monographs of a new kind propose to the young readers a significant and concrete approach of art. Each work approaches the life and the work of a painter - how it worked, of what it was inspired… - in a clear and ludic way, while always going to essence. With Art and the manner, we enter truly a work and we let us discover all the richness of it. Henri Matisse carried out an important part of his work by using the technique of cut out papers. By means of simple scissors, it manages to preserve same fluidity as with a brush. This simple technique seemingly - almost a play of child - makes it possible Matisse to capture the movement and to control the rate/rhythm. While playing with the lines and the colors, it gives rise to forms spontaneous, air, dancing… With cut out papers, the colors release, are expressed, and formed a universe full with freshness of movement and life… A universe which this work invites to discover. To cut directly in the color like a sculptor in the stone, only a 80 years Matisse which controlled at the same time the sculpture and painting could dare it. The process is very new. It been useful forever. It surprises everyone. The chromatic improvisations born from the scissors of Matisse and its gouachés papers reach from the start the goal which it always set: to make a success of the perfect synthesis of the line and the color.

Free gallery Art collage Assembly

2009-07-21T05:12:00.000-07:00

artists of the art of the assembly you can make exhibition of your work, free of charge in a specialized virtual gallery.

See link : http://www.art-pjm.com/galerie-art-gratuite/index.php

Register you and will be given to you a login and a password and you can manage your gallery.

Diectory of the collage and Assembly

2009-07-19T02:19:00.000-07:00

Directory are specialized in the broadcasting of the art of the collage and the assembly

Web site Artpjm http://www.art-pjm.com/liens-collagistes-art-numerique/menu-annuaires.php

The searchis made with title of the site and key words.

See Américain site Collageart : http://www.collageart.org/

Palate of Tokyo Paris 2008

2008-10-27T00:04:00.000-07:00

The photomontage and collage in this exhibition.

White chart was given to L international artist Ugo Rondinone for this exposure to the Palate of Tokyo of September 27, 2007 to January 3, 2008. The title of this presentation The Third Mind seems to have taken as a starting point a quotation of Napoleon Hill “Two spirits cannot meet, without generating, so a third force, invisible and intangible, which could resemble a third spirit. ”
This approach of the exposure will surely interest of the amateurs of joinings by the fitting general of the exposure which is with the statement of certain commentators of art a joining and by also by its contents which make it possible to see important artists which practises the photomontage, assembly, joining.
Lee Bontecou born in Providence the USA in 1931 uses traditional material it makes compositions a priori geometrical abstract

Joe Brainard in its first collage it evokes work To marble George and Andy Warhol then it S directs towards a lyricism baroque and a poetry kitsch and popular imagination notices the split of New York during these exposures. It subscribes its work of artist in 1994.

Sarah Lucas born in 1962 presents a whole of photographs which paper the walls of a part in which is installed finds a car destroyed not its care. She represents the sordid one and the fact various.
Of very beautiful joining on aluminium of Cady Morland of serigraphies and joinings in harmony with the leather masks of Nancy Grossman and of the elements of. Ronald Bladen,
In general the comments and critical of this exposure wonders about the influences, of its inclinations and its obsessions of originator of the exposure which according to them is built like an ambulation in a brain in perpetual activity and plunges to the source of the references and of discovered of the artist.
....
Palais de Tokyo, 13 avenue du Président Wilson, 75016 Paris

Symposium Art assembly part 3

2008-10-25T12:31:00.000-07:00

Back on the art of assembling 3rd party Saturday, March 29, 2008

Gilbert Lascault Emeritus Professor of Philosophy of Art University of Paris I

Forging link tinkering.
Gilbert Lascault publishes books aesthetics (The monster in Western Art, 1973; Figurées, disfigured / Small vocabulary of femininity represented, 1977; Writings on the visible timid, 1979; Faire and undo, 1985, etc.). monographs (Malaval, Ernst Bacon, Boltanski, Boteero, Grau-Garriga, Louis Pons, etc.). books of fiction (Little tetralogy of fallacious, Gens regular Sore-les-Sept-Gardens, Hell buffoons, and so on. .). In particular he published comments fictional in collaboration with artists.
As part of the symposium on the assembly he talked about the work of Christian Jaccard. The work of the latter located in the concerns similar to those of the support surface which he has not done. Nevertheless, exhibitions devoted to Supports / Surfaces sometimes associated Christian Jaccard. Starting from 1971, Christian Jaccard uses "tools" string, twine, knots. These tools replace the brush to produce traces on the canvas.

Heana Parvu, teacher assistant histroire of Art University of Geneva.
Construction and assembly: the sculpture in question.
She questions the concept of assembly by presenting works that are not. Unlike assemblages surreal juxtapositions that are one can imagine assemblies which have no juxtaposition. The objects interact with other objects. For example, an object that is placed relief by the artist Rosco on the facade of the Museum of Modern Art who maintain a relationship with his environment.

Carole Boulbès, professor of history and theory of art

Up and disassemble, Wim Delvoye and art cathedrals.
Wim Delvoye making all kinds of reflections by the juxtaposition of the universe and counter-employment It is part of a generation of artists that have marked Flemish contemporary art tattooing Known for his pigs and his firm Cloaca. His work on the art cathedrals is also one of its provocations. On windows, which usually spiritual scenes he introduced such provocations in sexual characteristics. The stained glass windows are assemblies that have multiple images simultaneously. He opposes the pure and impure. It is in line with the philosophy of George Battle between spirituality and materialism low.

Sylvie Coëllier Professseure plastic art and science of art, University of Provence "assembly" at samplage "creolization in the visual works by Bruno Peinado and sculpture recently.
She questions the work of Bruno Peinado which has been engaged in an extensive recycling company signs from our contemporary world by questioning our relationship with them. In this logic of the fragment, the artist discusses these images in restoring their complexity. The installation is an incentive for decryption and study the relationships between objects.

Miguel Egana artist, a professor of fine arts, University of Picardie Jules verne Assemblagisme, modernism, stucturalisme, postmodernism.

It queries thought assemblagiste Thought assemblagiste and syntax combinatorial born in the early century by adding elements in the table object outside the world of art (Picasso). This adventure continues with the Dadaists. The influence structuralism thought of this assemblage art. Indeed, the term "structure" is, since their appearance, the subject of multiple interpretations and uses very diverse. The structuralism as presented Lévis-Strass influence the thinking of assemblage art.

International Symposium Paris

2008-10-25T12:06:00.000-07:00

Assembler is in the first place unite together, joining several elements among them a definitive or otherwise - to mount / unmount - procedure requiring gestures and techniques that depend intrinsically link-binding, this material which gives substance to assembly. These nails, bolts, adhesives, masonry, scotches and other tape-they have a subordinate function? We can not second explore the field of the assembly without crossing the craft. How anthropology, through the writings of Claude Lévi-Strauss and Andrew Leroi-Gourhan, she influenced the perception of this concept? Du status ragpicker artist-as Charles Baudelaire described, the artist would have happened to "handyman and scholar? We must also question the function is the collection of items found (natural and / or artificial), but also scrap artifacts. What type of assembly? Thinking in terms of the act of uniform construction and hybridization, the distinction between these two relationships is still legitimate? Shares for reuse, recycling, ownership, mixing and by extension diversion directly linked to the practice of the assembly can not have the same coverage today that in the fifties.
Finally, the workshop - the handyman provided that the artist - is it not, during the sixties, spent on site or at another level, that of the architectural dimension? What relation to space, in place - that is lacking because qu'envahie? As for the aesthetics of ruin often engendered, she provided for assembling an act of anti-construction, or do we need to see another form of construction? In rhizome?

The symposium aims to explore and develop new thoughts on the art of assembly and more broadly to emphasize, even invaluable filiations, the points of convergence or divergence between the assembly, the environment and installation

Friday, March 28, 2008
• 14H00 - Room Giorgio Vasari, INHA, 1st floor
SPEECH BY THE Antoinette NORMAND-ROMAIN, Director General of the National Institute of Art History
Home Dany SANDRON, Director of the UMR 8150 (André Chastel Centre).
Chair: Françoise levaillant, director of research in art history at the CNRS • 14.15-Stephanie JAMET CHAVIGNY, Dr. Art History, University of Paris - Sorbonne-Paris-IV, a lecturer in art history, corresponding member of the ERCO (Centre Chastel, UMR 8150): "A Different Perspective on the critical reception of the exhibition The Art of Assemblage. "
• 14:40 Cécile DEBRAY, Conservative Heritage, special assistant to the director general of the National Museums Reunion: "New Realism: A new naturalism? ".
• 15H05 Muriel BADET, Dr. art history, EHESS, associate researcher at the Centre Pierre Francastel, Paris X-Nanterre: "The Paintings of tambouille-traps in practice artistic and culinary Daniel Spoerri.
• 15.30 Gillian WHITELEY, Dr. Art History, University of Leeds, a lecturer at Loughborough University School of Art and Design in London: "Scavenging from margins to mainstream? Artist as a handyman in the twenty-first century ".
• Debate 15.55
Break
• 16H25 Bertrand CLAVEZ, PhD in art history, who teaches art history, University Light-Lyon-II, general secretary of the Research Centre Pierre Francastel, University of Paris X-Nanterre: "Small arrangements George Brecht with the art of assemblage. "
• 16.50 Sophie DELPEUX, teacher conferences in the history of art, University of Paris-1-Panthéon-Sorbonne: "Blend, Environments & Happenings of Allan Kaprow."
• 17.15 CLAUSTRES Annie, Teacher conferences in the history of art, University Light-Lyon-II, corresponding member of the ERCO (Centre Chastel, UMR 8150): "The sculpture of Eduardo Paolozzi: an assembly of surface."

Symposium art assemblage

2008-10-25T11:53:00.000-07:00

Presentation of Return symposium on the art of assemblage of 28 and 29 March 2008

Text Stéphanie Jamet-Chavigny

At the initiative of Françoise Levaillant , director of research in art history at the CNRS, co-head of the ERCO within the Centre André Chastel (UMR 8150), and directed by Stephanie Jamet - Chavigny, a corresponding member of the ERCO, the symposium Back on the art of assembly was held on 28 and 29 March 2008 Vasari room to INHA. It was to question the concept of assembly from exposure founder The Art of Assemblage, organized by William C. SEITZ the Museum of Modern Art in New York in 1961 who proposed the first genealogy. The project was to study the role held by the assembly in the expanded field of art, to identify principles and also to question posterity at the beginning of the twenty-first century. Filiation collage-assembly does it not to be reconsidered in view of a number of critical writings and events which have since renewed the approach? Thinking in terms of the act of construction or homogeneous hybridization, the distinction between these two affiliations is still legitimate? The shares of reuse, recycling, ownership, mixing and by extension diversion directly linked to the practice of the assembly are not the same today as in the sixties. The plurality of contributions solicited researchers, from universities, art schools and museums, allowed to cross approaches used both to the history of art, literature, sociology and anthropology.

Antoinette Romain Le Normand, executive director of the INHA, introducing the two-day search, has put all thoughts under the aegis of Augustus RODIN, echoing the dialectic "fragmentation / assembly" which was analysed in the exhibition The body pieces at the Museum d'Orsay in 1990 and which she had just contributed.
The first session of the symposium was chaired by Françoise Levaillant who recalled having achieved with a team of students in May 1976, the exhibition "Assemblage (s)" MNAM (Palais de Tokyo), from Head Raoul HAUSSMANN, and in connection with a course on another form of dialectics, "carved subject / object," "objects" DADA the compositions of objects Erik DIETMAN through boxes of electrified BRYEN . The introduction of Stephanie Jamet-Chavigny, "Another look at the critical reception of the exhibition The Art of Assemblage", analysed the choice of the term assembly for title of the exhibition New York through the study of archives of MoMA and the Getty Foundation. S. Jamet-Chavigny raised the question of its influence and its impact. Two tracks appeared reading, to understand and consider a different method outlined by Seitz: on the one hand, the one proposed by Allan KAPROW in Blend, Environments and Happenings started in 1960 and published in 1966 and, secondly, that of Leo Steinberg in his essay "The Return of Rodin wrote in 1962 (but published in 1972). As a result a questioning of the modernist conception of Clement Greenberg and an opening on an understanding of the word assembly beyond the question of the object, in a non-artistic, social, even political. Thus, the mythical figure of Western handyman what Robinson Crusoe, has guided reflection initiator of this symposium precisely because it was itself subject to a deep-reading during the twentieth century and in particular in the 1960 l 'Oeuvre Michel TOURNIER Friday or Limbo Pacific. The first day was therefore turned to issues of the art of assembling the heart of the 1960 highlighting the key assumptions raised by the efforts of artists close to the New Realists, Fluxus or the Happening.

Collage, assembly to the Tate Britain

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A strange thing in the big French museums it has no department dedicated to artists' works there having worked on the collage(sticking). Rightly can be because the collage(sticking) assembly does not establish(constitute) an artistic movement, or be the object at the moment of a manifesto estimated by institutions or art history.

Picasso and Braque created the first Cubist collages in 1912. They incorporated printed material, such as newspaper or wallpaper, into their paintings and drawings, bringing new life to the play of illusion that was an important element of Cubism. These printed fragments were real objects that stood as images of themselves. In the same year, Picasso also started making three-dimensional assemblages of diverse ‘found’ materials, playing on a similar ambiguity between object and image.

The invention of collage, where art might be made out of everyday throwaway materials, has informed the course of much art of the last century. This display of British art of the last fifty years examines the continued relevance of this discovery for artistic practice. Constructed from rupture and discontinuity, collage offered artists and viewers a new way of seeing the world, bringing together disparate and sometimes contradictory elements to which often surprising meanings can immediately be given.

Often playful, this new way of understanding the world can also have a critical or polemical purpose. This is particularly true of the technique of photo-montage: collages constructed from photographs. This display traces the development of one aspect of the interchange between fine art and mass culture that still lies at the heart of contemporary art.

This display has been devised by curator Andrew Wilson Ben Nicholson OM 1894-1982, Victor Pasmore 1908-1998, Kurt Schwitters 1887-1948, George Fullard 1923-1973, Margaret Mellis born 1914, Francis Davison 1919-1984, John McHale 1922-1978, Tracey Emin born 1963, Sarah Lucas born 1962, Tracey Emin born 1963, Gwyther Irwin born 1931, Jim Lambie born 1964, John Stezaker born 1949, Peter Kennard born 1949, Peter Kennard born 1949, Damien Hirst born 1965.

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Technique collage : Vocabulary and technique of collage

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It appears here only of the basic words which are useful in industry of the joining which can interest on a purely documentary basis the artists collagists.

- Adhesive of reaction : it is an adhesive with several components which must be mixed before the application. The preparation must be implemented during a certain lapse of time (lifespan out of pot). It also can that it is about an adhesive with only one component which reacts under the action of moisture, of heat

. - Thermofusible Adhesives : in fact adhesives are fluxed by heat before the application. Final hardness is reached by cooling and/or chemical reaction. - Adhesion: They are the intermolecular forces to the interface between material to be stuck and the adhesive preparation. - Self-adhesive Joining: this type of joining requires self-adhesive adhesives which remain sticking for a long time. In general, the adhesive preparation is coated only on one element, and the parts are stuck after drying, often under a light pressure.

- Joining a face or joining in wet phase : the adhesive preparation is applied only to one or the other of the two elements to be stuck and the elements are assembled during the period indicated

. - Cold Joining: during cold joining, the elements to be bound are assembled during opened time, at ambient temperature

. - Joining with heat : in this case there, the elements to be bound are assembled at a temperature of activation and under a pressure given. - self-adhesive: it is a process of joining for which the adhesive preparation is applied to two surfaces to stick. After complete evaporation of solvents, the two elements are assembled in pressure. The initial catch is very high

. - Adhesive containing solvents : it is an adhesive which contains the solids in dissolved preparation

. - Adhesive of dispersion : they are adhesives which contain solids, finely dispersed

. - Maximum Concentration with the site of work : by maximum concentration with the site of work, one includes/understands the highest concentrations at the place where one works of solvent vapors in the air

. - Lifespan out of pot : the lifespan out of pot is an indication concerning the adhesives with two or several components. It describes the period during which a preparation can be implemented.

- Dry Extract : the dry extract is indicated in % and represents the share of solids (they are the nonvolatile matters) of an adhesive. - Inflammability: inflammability is an indication concerning the regulations of safety and indicates the flash point or the point flash.

- Limit of explosiveness : the range in which the ignition of a vapor mixture of solvent-air can explode calls limit of explosiveness or beach of inflammability.

- Not flash : indication of the temperature to which are disengaged from the vapors in sufficient quantity to cause the formation of a detonating air-steamer mixture

. - Report/ratio of mixture : this indication defines the parts in weights which must be mixed for adhesives with several components.

- Source of ignition : in a company, there is a great potential of sources of ignition. One can quote the naked flames, the blowpipe flames, the tobacco in ignition,… There are also hot surfaces, electricals appliance

. - Open Time : this time indicates the maximum lapse of time which can pass between the gluing and the assembly of elements during joining contact.

- Viscosity : viscosity represents the rheological behavior of a matter.

Technical collage 4 : conclusion

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The important progress made in the field of the adhesives (generic term of the adhesives, cements and coating) allows the assembly of the near total of materials. The technical and economic consequences make that they are used more and more in sectors as various as mechanics, the textile, wood, transport, the building.

It is in the assembly that the evolution is most spectacular because sometimes, if joining replaces the means traditionally employed, it has the advantage of widening in an important way the framework of the applications. So it is often preferred for one or more of the following reasons:

Uniform distribution of the efforts on the whole of film of adhesive

Price with the m ² often less low Invisible means of assembly (decoration)

Sealing and protection counter corrosion carried out at the same time as the Suppression assembly of the resumption of parts (fettling, sandpapering, cementing.)

Very different material assembly

But all these qualities should not make forget that joining is technique of a modern and rather complex assembly to implement. It is necessary to have good knowledge in the theory of the adhesive to be able to apply this method under satisfactory conditions.

Collage should not be a palliative or a spare wheel. It is necessary to think of joining as of the design of the product. The conditions of success are all the more large as one controls the theory of the adhesives and that one has good notions of the adhesives available on the market.

Si votre soif de connaissances sur le collage n'est pas étanchée après tout ça, le Laboratoire de Matériaux vous propose les deux ouvrages suivants écrits au laboratoire:

Le collage structural moderne (Théorie et pratique) de Patrice Couvrat Éditions: TEC & DOC LAVOISIER (1992)
Le collage moderne de Patrice Couvrat Collection: Technologie de pointe Éditions: HERMES (1990)

Origin of the techniques of collage and the adhesives

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The use of adhesives was known as of 4500 front JC.

These adhesives were composed of raw materials animal and vegetable, as the adhesive of bone (animal grease) and casein, as well as tar, pitch, waxes, etc It is only at the end of the 19iéme century (in approximately 1876) that one produces the first resin and rubber solutions with benzene which are used for a relatively reliable joining of wood, paper, paperboard, fabrics and leather.

At the beginning of the 20th century, appear the first adhesives containing nitrocellulose which allow an assembly of construction, partly without use of average mechanics. Because of decisive progress in the field of macromolecular chemistry, the bases of the modern techniques of joining were installation. It is into 1949 that the adhesives on the basis of Neoprene are introduced.

The means of joining evolve/move and gain more and more importance in the current methods of industrial production. The advantages of joining are numerous. One can think for example of

Homogeneous distribution of the forces on all stuck surface. - Not

- Deterioration of materials contrary to riveting, nailing.

- Saving in weight (application on materials low thickness - effect of against plating: low-weight material but of high solidity)

. - Widening of the possibilities of combinations of materials.

Technical collage 2 : Adhesion know minimum

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The adhesion of a liquid on a solid utilizes two independent concepts :

- The solid liquid interaction which characterizes adhesion.

- The damping which characterizes the spreading out of the liquid on the solid.

Some considerations on absorptivity

It represents the aptitude which greatest possible surface has a liquid to occupy when one lays out it on a solid surface. We will quantify it by the introduction of the concept of energy of surface of a liquid or a solid.

Énergie superficielle d'un liquide

Surface energy of a liquid

As called surface tension, it characterizes the aptitude as for the surface of a liquid to take the smallest possible value in a given medium. It also characterizes the cohesion of a liquid since it is necessary to overcome the forces of internal cohesion of this one to increase this surface.

Mechanically, it is expressed like a force being opposed to an increase in surface and brought back to the unit of length. The unit used is N/m

Tension superficielle forte
( mauvais pour le collage).

Tension superficielle faible
( bon pour le collage).

It represents the quantity of work which it was necessary to spend to create the aforementioned surface, the temperature and the pressure being constant. It is expressed in J/m ².

Concepts of absorptivity

Let us pose a drop of liquid on a solid surface.

The balance of the forces gives the equation of Young :

g lv cos q + g sl = g sv

Where G S, G sl, G L represent the energy of surface of the solid, interfacial energy liquidates solid and the surface tension of the liquid.

Critical surface energy

The spreading out of the liquid is perfect only if the contact angle A is null. This value corresponds to a breaking value of the surface energy of the solid which makes it possible to predict that if :

g l < a="0,">

g l > g c alors A is positive, damping is bad.

Which are the connections which intervene ?

One thus qualifies the whole of the forces which are established between the adhesive and the surface of the solid. Several explanations exist, without one being able to generalize one or the other of those.

- Mechanical Theory. Adhesion was regarded a long time as being a simple mechanical problem, the solidity of the joint resulting from the penetration of the adhesive in the asperities of solid surface. Explain part of adhesion.

- Electric Theory. Adhesion would be due to the establishment of an electric layer to the interfaces, the forces being of electrostatic nature. Very discussed.

- Chemical Theory. It interprets the connection by the formation of covalent bonds between two involved bodies. Has place only in certain cases.

- Theory of the diffusion. There is inter-diffusion between two involved surfaces. It supposes the mutual solubility of materials. Joining of PVC for example.

- Thermodynamic Theory. It indicates the establishment of weak connections (forces of Van Der Waals) between surfaces. These forces are exerted on short distances and exist in all the cases of figure. Explain a good part of adhesion.

The forces of Van Der Waals result from the dissymmetry of burden-sharing positive and negative involving the formation of dipoles as well in polymer as in the substrate and linking themselves head-digs. These various assumptions show that the phenomena of adhesion are not yet well elucidated. It seems however that the establishment of weak but very many connections is one of the principal reasons of adhesion in much of case.

Importance of roughness

An increase in roughness has two direct incidences:

- A better mechanical anchoring.

- A rise in the real surface of contact (10 to 100 times apparent surface). One could then expect that the resistance of the joint increases in similar proportions.

However it is not the case. Two essential reasons explain these observations.


Le mouillage n'est pas réalisé dans les creux. Il y a concentration de contraintes au sommet des aspérités.	Sans creux, le mouillage est mieux réalisé. Le sablage à créé des angles très ouverts, l'adhésion sera donc meilleure.

TO RETAIN ABSOLUTELY

- Absorptivity must be the best possible one so that the maximum of connections are established between the adhesive and the substrate. The equation of Young indicates to us that a surface treatment is practically essential so that the energy of surface of the substrate is maximum. These treatments must have like principal goal to clean the solid surface of all the elements likely to establish a barrier with the establishment of the connections.

- The surface tension of the adhesives used must be lower than the energy of surface of the solids considered. This is why it is extremely difficult to stick plastics at the rough state.

- A good absorptivity is not a sufficient condition, still is necessary it that it is formed connections many and solid, which supposes that the geometry of surface is well known and that the chemistry of the adhesive and solid surface are adapted perfectly.

JOINTS

There, if I am a a little mechanic, I see well that it is necessary to avoid cleavage and peeling….But shearing ?

If I believe Volkersen of it, attention should be paid, because the constraints are not very homogeneous.

The reader will be able to refer to the two books indicated to have more information in this field, because it is true that that starts to become complicated ...... .

I retain nevertheless that the constraints must be distributed on the whole of the joint for better resisting the efforts applied

Technical collage 3 : Various Adhesive

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An adhesive, it is first of all a basic polymer which gives the cohesion of the unit. It is then the addition of elements intended to increase the sticking capacity, to increase the flexibility in certain cases.

Let us start with the structural adhesives

The concept of structural adhesive appeared when one started to carry out adhesive bonded joints being able to support constraints as important as the assemblies mechanic - welded. The adhesive bonded joint then has a resistance equivalent to that of materials constituting the structure.

The adhesive is integral part of the whole of the structure to the difference of the products of coatings or cements of sealing, from where the name of structural adhesives.

They are conceived to resist constraints higher than 7 MPA (it is not an insuperable border! …) at ambient temperature. They can be requested without failure with a high percentage of their maximum resistance for a long period, this under hostile conditions (low temperatures, heat, chemical agents,…).

POLYURETHANS

It is a very vast class of products of which some can be classified among the structural adhesives. They are then reactive polymers without solvents or with very high dry extract. They result from condensation between a monomer isocyanate and a monomer hydroxide or polyol. They are appeared as Bi-components but the evolution tends to support the development of the adhesives polyurethanes mono-components because of their simplicity of implementation. They have an excellent behaviour with peeling, with the tear. The polyurethanes Bi-components are regarded as a semi-structural adhesive. They are appropriate perfectly for the mixed assemblies plastic metal/. Certain manufacturers develop polyurethane mono-component ranges. These adhesives are presented under a pasty state then become after reticulation with the ambient moisture of the elastic masses.

The excellent properties of adherence of the polyurethanes found applications in the adhesives to means and high module in all the industrial branches of industry, in particular each time the assemblies are subjected to dilation, of the shocks or the consequent vibrations. They find many uses in fields as different as the means of transport, the shipbuilding, the electric components,… The polyurethanes are slower than epoxies but on the other hand they are much more flexible. Moreover one can stick them on practically all surfaces without using primary educations of adhesion. The latter are necessary only on Teflon,…, i.e. of the materials which are supposed incollables.

One of the large advantages of the polyurethanes currently on the market are that they stick glass without primary education. There is thus a use much simpler than with epoxy. On the other hand if one wants a rapid hardening one frequently uses mixed joinings: polyurethane and adhesive tape. One limits the use of the adhesive tapes because they are of a rather high cost. There are polyurethanes Bi-components. The latter have the advantage of showing higher mechanical characteristics but their implementation is much more complex. They are hard to spread out and the investments are heavy.

The manufacturers now develop mono-components with characteristics which tend to approach those of the Bi-components. One of the principal applications of the polyurethanes is the joining of glass. On the other hand they have a bad behaviour with UV. Many research is undertaken in order to reduce this problem (problem of the joining of avoid-break cars). Another application of these adhesives is the realization of groundsheet, of, assembly seals of elements of boats,… One exploits much the fact of the great flexibility of these adhesives. One speaks besides rather often about flexible joining for the polyurethanes mono-components.

The principal characteristics of the polyurethanes are :

- Important Elasticity and flexibility even at low temperature - Good adherence to the majority of materials - Good resistance to the ageing

- Resistance to the not diluted acids - Good behaviour with moisture - Behaviour at the average temperatures (80-90 °C)

- Hardening hot fast (mono-component) - Speed of reticulation from 3 to 5 MM per day for the mono-components - Implementation technical for the Bi-components

- Electrical insulator Property, property of sealing

- Absence of toxicity in the majority of the cases - Need for drying ovens for the mono-components - Shear strength less low than the other structural adhesives

- Very good Hardness At present, of the manufacturers polyurethanes mono-components market which do not have any more their principal defect i.e. slowness of polymerization. This new adhesive is obtained by the presence of an activator. One thus has the advantages of a polyurethane mono-component (ease of use) and those of Bi-components (speed of catch).

EPOXIES

They are the thermohardening adhesives among most current and most powerful. Their denomination comes from the presence of a characteristic grouping called epoxy grouping. The formulations are presented in the form of liquid or pasty products according to case's.

They are adhesives without solvents, mono or Bi-components. For the adhesives Bi-components, the mixture hardener basic resin is made at the time of joining, by respecting the quantities strictly. An exothermic reaction takes place then, allowing the reticulation. Generally, joining is made at ambient temperature but it can be accelerated by a contribution of heat. For the adhesives mono-components, the adhesive is ready with employment i.e. that the basic resin and the hardener cohabit without the reaction taking place. It is necessary to have a contribution of heat so that the reaction occurs.

The conditions of storage are important: the temperature should not exceed 20 to 30 °C, with the risk to cause a beginning of reaction. The epoxies are frequently used for joinings metal/metal or plastic metal/having to resist very high mechanical constraints. They offer a very good adhesion on the majority of materials and an excellent resistance to the ageing. For epoxies being able to tolerate high temperatures, one inserts ceramics particles.

The problem is then the handling time which reaches 24 H. research is centered on the behaviour in temperature of these adhesives like on the increasingly current realization of epoxy mono-component to high mechanical characteristic. One markets epoxies with rapid hardening, semi-rapid, normal. But resistance drops as the time of catch shortens. It is thus necessary to find a compromise between the requirements of speed of industrial realization and the behaviour of joining.

Let us quote like characteristics for the mono-components:

- Excellent resistance in temperature being able to go from -55 to +200 °C - Excellent shear strength: up to 40 MPa with 20°C - Excellent behaviour with the environments

- Excellent resistance to oils, solvents

- Storage with +4 or -18 °C - High Price - Harmfulness - Unflexibility

For the epoxies Bi-components, one can quote:

- Excellent resistance in temperature

- Excellent shear strength

- Good behaviour with the environments

- Good resistance to oils and solvents

- Possibility of reducing the duration of polymerization by increasing the temperature

- Storage at ambient temperature

ACRYLIC RESINS

There are several types of adhesives at acrylic base.

CYANOACRYLATES

In fact rather recent adhesives make rather important great strides because of some of their characteristics. The reaction is a simple reaction of polymerization of anion type, caused by the presence of a weak base on surface considered. At the beginning these adhesives were intended only for the joining of metals/rubber. Now, one also uses them for porous materials. The principal characteristics of these adhesives are:

- A speed of polymerization low in general but it strongly depends on the nature of the supports - Moisture is a good catalyst

- Polymerization takes place by compression of fine film of monomers - This polymerization takes place on a nonacid polar surface

- The mechanical resistances are high - Their resistance to solvents is good - They have a strong covering capacity

- Their behaviour at the temperature is low - The film is colourless In fact rather specific adhesives are in general intended for the precision tool industries. One uses them on small parts, for the joining of rubber seals,… They resist the shocks generally rather badly, at the temperature (100 °C).

But now certain manufacturers market cyanoacrylates which resist 150 °C, with sets of 0.25 mm, shocks, moisture. One thus eliminates the principal defects from this type of adhesive. One of the great advantages of these adhesives is to be able to adhere on famous surfaces incollables thanks to the use of primary educations of adhesion. One avoids thus on polypropylene, Teflon,…, of the surface treatments such as a plasma treatment followed by CORONA effects.

ANAEROBES

It is thermohardening adhesives for which polymerization can take place only in the absence of oxygen or of air. Metal surfaces have the property to catalyse the reaction but this one also requires the action of an activator or electromagnetic radiations such as the ultraviolet rays.

pplication of brake net to block the threaded assembly.

The principal characteristics are:

- Their time of weak catch

- An excellent shear strength but a very low tensile strength

- Their thermohardening character confers excellent characteristics according to the temperature to them. Some can hold up to 180 °C.

- Their chemical inertia is very good.

- They are unsuited to porous materials. Their fluidity is more or less important to supplement the plays. One uses them for the braking of nets, mechanical joining for the bearings.

The play must remain weak and lower than 0.25 Misters.

The principal parameters on the condition of uses of these adhesives are :

The nature of the substrates: metals are reactive to differing degree, the other materials require the use of the activators.

The play interfaces: the time of polymerization increases quickly with the play.

The choice of the product: with origin, various products can be equipped with different sensitivities to the anaerobic effect, with metals, even with radiation UV.

The cleanliness of surface: dirty surfaces delay polymerization and reduce the performances of the product. The surface treatments of ask for the use of more reactive products or a preparation of the activator. Activators: they are solvents containing of the active ingredients which remain on surfaces after evaporation. Their action is essential with certain adhesives or on nonreactive substrates.

ANAEROBES REACTIVABLES WITH UV

There is a reactivity for lack of oxygen and the presence of U.V.

This adhesive is used for the joining of glass on any support. Polymerization takes place into 20 S if there is a lamp UV, and of 24 H with the action of the sun.

This adhesive is important in optics, the construction of mirrors, decoration,…

They are very interesting since they have the same refractory index as glass. There is not thus a problem for industries of optics. It is possible to clean the surface which was exposed to the action of the air. This type of adhesive is used much in the sector of decoration.

ACRYLIC RESINS MODIFIED

There is, compared to the traditional acrylic resins, the appearance of a radical urethan.

This modification involves completely particular characteristics. Hardening is made possible by the addition of two different parts: an activator and adhesive.

The adhesive is consisted of the basic resin whereas the activator consists of peroxide. The principal characteristics of the acrylic resins modified are:

- A very fast catch, a few minutes for the catch in hand, a few hours for final resistance. - Adherence to badly prepared surfaces.

- A good behaviour at the temperature. - A very good shear strength. - The strength to the chemical agents and moisture is very honest.

- The thickness of the joint must be low. They are used for manufacture in chain because the time of catch is rather weak contrary to epoxies. On the other hand this type of adhesive cannot be used in all the cases of figure. For example the following assembly cannot be carried out with adhesive of an acrylic type modified. This type of joining is impossible to carry out with an acrylic resin modified. Indeed the adhesive is liquid whereas the activator is viscous. The adhesive is thus driven out at the time of the hafting. If the detail of joining observes, we have :

THERMOFUSIBLE THE ONES GOLD HOT-MELTS

At the beginning they were used for joining paperboard/paperboard and of Wood. One quickly realized that they were whitebait to stick much of other things drank. Their principal immediate advantage is the wrestling. In fact adhesive cuts the effect of having to Be heated in order to Be fluxed, the wrestling taking place with cooling.

They cuts has problem: during the application one cold materials, there edge Be the formation of has thin to bush-hammer (glacis has) which prevents joining. They consist of has BASIC polymer, has resin and has wax to which one adds additive stabilizing gold plasticizing. The BASIC polymer is intended to give cohesion, the behaviour thermal At the temperature and stability while the waxes cuts the aim of controlling viscosity. The resin tacktifiante is intended to increase the hot sticking capacity. The BASIC polymers are primarily copolymers of ethylene such have the EVA.

One also finds polyesters and polyamides. From to their rather easy handling and to their time of weak wrestling, thesis adhesive make rather fast great strides. One principal edge give the advantages of this adhesive:

- Setting misses fast -100% of dry extracts from where has facility of handling

- Adherence to many supports

- Absence of solvents - Réactivable hot permanently

- Facility of uses - Machines adapted to evolutionary spleens (folding camera machine-splicing units) Goal one the other hand there are some defects:

- Insufficient Creep strength

- Speed of sensitive solidification to the temperature of the support

- Delicate Compromised between speed of time of wrestling and the time of opening

- Sensitivity to heat At the beginning the BASIC component was the acrylic resin. At present drank, the manufacturers uses the thermofusible ones containing mono-component polyurethane. They are packed in hermetic cartridges and in solid form. There are the advantages of has traditional HOT-MELT. Joining is done by heating. Adhesive Then the plays the share of has traditional polyurethane. There is thus has polymerization. The advantage is that the behaviour is fixed. It will not move any more. Moreover the wrestling is fast. Adhesive It is year miracle drank its implementation is complex. Indeed, ounce the cartridge is open to use must uses it until the end. It is necessary to uses has special and expensive gun. One must moreover had has heater of cartridge. Finally the gun must Be imperatively cleaned with has special solvent after each uses. Yew not, the adhesive polymerizes and stops the gun. One thus has in maintenance and has material rather heavy and expensive.

ADHESIVES IN AQUEOUS DISPERSION

All the products of this family are adapted perfectly to answer a great number of industrial requests. Their use is advised where the products in phase solvent are prohibited. Indeed the adhesives in aqueous dispersion have the advantage of being much less toxic than an adhesive solvent and to be flammable in the liquid state (interest on the level of storage and implementation).

These products give excellent results on a great number of supports such wood, the plastics, the fabrics, etc As example, these adhesives are used today for the fabric fixing on wood in the manufacture of speakers like for the joining of wall linings in particular in public transport.

These products also are very much used in the manufacture of industrial filters, of light materials, like for the assembly of products of insulation. The adhesives in aqueous dispersion result in general from two technologies:

- The adhesives contacts: a double gluing is carried out, one waits the time of evaporation necessary and one posts the two surfaces pasted by maintaining the pressure

- Self-adhesive adhesives: After complete evaporation of solvent (in fact of water), these products remain self-adhesive very a long time. That gets a great flexibility on the level of the process of implementation of the product. A contribution of heat can decrease in a considerable way time of drying of the adhesive. The adhesives in aqueous dispersion have a rate of rather important dry extracts in general. One can often stick with one liter of adhesive in dispersion a surface much more important than with one liter of solvent adhesive. For the implementation of these products, one can apply them without problem to the brush, the roller or the gun. ADHESIVE TAPES One distinguishes several kinds of structural adhesive tapes: supported films, the not supported films époxys, and finally acrylic films. The supported films have been developed for several years but are used little. The structural films mono-components have characteristics higher than the traditional epoxy adhesives. The joints can reach more than 30 to 35 MPA in shearing and from approximately 12 to 13 N/MM in peeling. They make it possible to fill rather important plays. A contribution of heat is necessary to ensure a good polymerization. There are many applications of the adhesive tapes:

- Traditional Joining - Ribbons for the electrical engineering

- Ribbons of protection for plastic condensers - Ribbon of masking (gilding of the contacts of printed circuits) - Adhesive tapes of saving for the surface treatments

- Working Ribbons of assemblies and refermables

- Antiblocking industrial Adhesive tapes Foams and the transfers very high adhesion are acrylic adhesives comparable with adhesives doubles faces. There are various types of adhesive masses on the market: - Rubber

- Natural rubber - Synthetic rubber - Nonthermohardening Rubber - Thermohardening Rubber - Réticulé thermohardening Rubber

- Acrylic resin

- Thermohardening Acrylic resin

- Réticulée Acrylic resin

- Silicone

- Thermohardening Silicone The most effective adhesive is that containing acrylic resin. It is the only one which can be regarded as structural. This type of joining has been known for more than 20 years. At the beginning they were primarily epoxy resins, D-activables hot more pressing. For 15 years the most powerful ribbons have been containing acrylic resin. There is a support, foam, and the adhesive.

One can fill rather important defects with the thickness. On the other hand one realized that when one made work this type of assembly, there was risk of rupture on the level of foam. The manufacturers currently market adhesives containing acrylic resin pure. The problem of foam thus is avoided.

There is according to needs' a more or less great thickness for the ribbon. For the low thicknesses there is acrylic resin pure. On the other hand for the ribbons stronger thicknesses there is acrylic resin emulsified. These products are rather interesting bus in addition to exceptional performances with wrenching and with shearing, they have a viscoelastic memory.

One can thus stick two materials with different dilation coefficients. The ribbon lengthens but does not break. One can also quote aptitudes of impact resistance, vibrations, corrosion, of electric insulation,…

They are moreover ungluable. Like example of use, one can quote the manufacture of the electrical equipment boxes. In the past, one placed a reinforcement in the shape of omega. It was then necessary to weld it then to sandpaper it for the application of painting. Maintaining with the presence of ribbons with very high properties of adhesion, the operation of sandpapering is not effective any more. This saving of time was not possible that because the new ribbons resist strong temperatures. One can quote, for example, with range VHB from 3M: 250 °C during 4 H, 150 °C uninterrupted.

Research is currently centered on the development of ribbons supporting still better heat and with the mechanical characteristics definitely more powerful.

PRIMARY EDUCATIONS Of ADHESION: THEIR FUNCTIONS

ls consists of a resin and often of polyurethane. This is why they are manufactured by the industrialists of the adhesive. The function of the primary educations is very vast. They have been developed for a few years for quite particular employment. Let us quote for example:

- Concrete Accelerator of the instantaneous adhesives

- Preparation of surface - Degreasing of surfaces

- Increase in adhesion on the plastics, glass

- Agent of polymerization

- Gelation of the visible adhesive

- They are used also as barriers with plasticizers, the gasolines, etc

PRESENTATION OF SOME OTHER EXISTING ADHESIVES

The adhesives from the basic nature of polymer and that of the additives, represent a very vast family which it would be tiresome to detail. We will thus limit ourselves to a fast and brief presentation of the other adhesives.

EMULSIONS AND SOLUTIONS

They are adhesives in aqueous or organic medium whose hardening results from the evaporation of solvent or its absorption by one or the other of the substrates. The natural adhesives of vegetable origin do not use an organic solvent.

The adhesives obtained starting from resins

thermoplastics, of thermohardening elastomer adhesives even, can according to case's being obtained either in aqueous medium, or in solvent medium. $ The natural adhesives cannot be qualified the structural ones but they however are very much used in the industry of wood, paper, delivers,…

THE ADHESIVES CONTACTS

The setting in contact of surfaces to be assembled takes place only after the evaporation of solvents, the assembly requiring a pressure to weld two films of adhesive. The typical example is the Néoprène adhesive.

The postcard photography

2008-06-29T00:30:00.000-07:00

The visual inventiveness of the postcard photo

The postcard invented in 1869 in Austria Hungary for short messages very quickly enriched an image, before becoming a factor for the dissemination of photography and then very quickly a photographic montage of support. The photography exhibition stamped testament to the mounting collage aspect of photography. Professionals and amateurs photographic techniques to make it their own encouraged by industrialists who put at their disposal the necessary equipment. The result is a whole iconography based on the collage made by assembling finds curiosities and fantasy. The exhibition reflected the recreational aspect and crazy images created, both in the treatment of the topic in procedures montages, and the epistolary nature of these objects communications and exchange. The mores of an entire era are disseminated through these postcards fantasies. To achieve these visual curiosities, photographers operating publishers have resorted to a variety of technical effects - montages, superimpositions, optical distortion, big plans, etc.. -- Well-known professionals, but rather the general public.

This extraordinary visual inventiveness, deployed by the industry of the postcard in the first decades of the twentieth century, the exhibition aims to show. Some are even photomontages Dadaists made directly on postcards and sent as such. Many artists from the 1920 and 1930 have a passion for these events early industrialization images.

They have inspired Hannah Höch, Hezbert Bayer Man Ray or taking them over or cite in their work, implementing strategies diversion and ownership - two concepts, avant-garde to the present day, have ceased 'Question the nature of art.

The visual inventiveness of the postcard photo
in the early twentieth century
from 04 March to 08 June 2008

exhibition was devoted to what had been a few years before the press or the book illustrated, the first to offer support to photography a mass dissemination of the postcard.

Joel Besse suspend time

2008-03-02T00:40:00.000-08:00

Folding paper, acrylic and collage of Joel Besse by Fernand Founier Galerie Keller 13 rue Keller Pairs 11ème

Joel Besse is an artist of folds and pleats and complex geometric; It glue strips or small square of paper color. He was born in the work of gluing and folding of strange objects that could be attributed to sculptures. But Joel Besse were "modules" of the simple elements that make up the table with identical elements.

In the beginning, Joel Besse, there are these folds and pleats, often complex and almost always geometric animating small strips or squares of paper as to arouse themselves. The colour, posed as the case before or after folding, is involved in the adventure. Naissent so, this soft and yet so rebellious to the touch of the artist, strange objects. It could be seen as models for miniature sculptures, but for Joel Besse these are only "modules", the components are simple he needs to build his table and that he must first produce the same and mass production.

That is to say that the repetition of the same gesture and plastic patterns is the principle of the artist's work and brings the senses. It is not a process here shop, much less a sign of abandonment to an aesthetic in fashion. It serves a purpose in what Kandinsky called "inner necessity". This module, among others invented then rejected, will be repeated because a secret shake sensitivity will be warned about the artist and the impossibility of finding this module equate. The approach is based on the idea that only what felt to be unique and must be legitimately necessarily doomed to repeat. That is what has always shown great lyric poetry for which each term irreplaceable can only be repeated. Joel Besse is part of this tradition which makes the heart organ lovers of repetition. It is a lyrical visual and tactile. The module, which was selected derives its uniqueness inéchangeable unspeakable emotions which, born of a glimpse to know for a moment, were housed in perpetuity in the palm of his tricks. It is understood that the artist may want to replicate that this module in series. The first time was not enough. In the presence of this form winged while still a simmering lived that can be compared to anything, repetition is the only response can be maintained in this singular lived in his pen symbol. But in doing so it does not merely add a second and third time, not the first. It raises the first module of the series to the "nth" power, giving him and his inscrutable content, the aura of the sacred. In this respect, the repetition reverses. It is no longer simple summation. It becomes update sent late in the series (at least in theory) that has inexhaustible potential initial modulus. It is the one here now, which repeats in advance all those who will follow. It is thus fully in the order of the religious commemoration, where it is not the rituals that repeat the event founder, but the latter, which from the outset, repeat.

Also as a rite ever again, the modules deployed in long series in the fall workshop will they, with the truth that burns in them, a time motionless, and the origin of the eternal return on it own. L artist knows, who often comes to talk of a repetition as a moment of eternity where the mind can finally go in possession of himself.

But it is the picture that repeated itself truly body. The modules will find their destination. They are juxtaposed so as to fully cover the supporting surface. The choice of format neutral particularly as the square, said at the outset that the scope of the duplication could, notwithstanding the physical limits of the framework, extended to infinity. Now, under the eye, all modules exist outside of any requirement of succession in time, and according to which one would enjoy the position of the other model and the likeness of copies. All have become contemporary each other. Repetition is indeed here a moment of eternity. But it might also lose its purpose and deny itself in a repetitive and sterile assertion of a being in itself that would be in this case as to a Non-being. Table lacking that the absolute identity, would meanwhile, denied any tension.

Hence the need for repetition is possible to introduce it as a difference. Joel Besse is aware of this. The modules have a force capable plastic to create and maintain disorder, or better, the difference that although contrary to repeat is its vitality. First is the natural instability of the materials they are made of. It communicates to their folds, yet inhabited by the same thought, this vibration sensitive is inherent individuality. But there are also common configuration of the modules themselves, which is, paradoxically, a source of diversity. It imposes indeed to the artist logic combinations at the position of first modules on the plan, which has the effect of introducing these differences in order topology. Thus emerging before our eyes structures which, if they are to be repeated, however, give an impression of life abundant. Everything seems to become rhythms, one nested within the other, referring to the subtle games with a minimalist music.

The color is involved in this dialectic of repetition and difference to exalt lyricism. She cherishes all the tricks, but only in their most places available at the sight, as if it were necessary to preserve their share of shade and privacy, may be to make it contracted by more fascinating. In this sense, the color is the repetition. But it also opens the territory to be different, because it modulates the infinite perspective which we can enjoy on the folds of their multiple depths.

In the rustling who travelled countless tables of Joel Besse, mean, how basso continuo, the groaning alternative to the sea ever again.

Darren Smith Dorothy s Gallery

2007-10-09T00:28:00.000-07:00

Collage photograpy Kaleidoscopes, broken mirrors, reflections on the water until Nov. 4, 2007

I have always been intrigued by things that alter my perspective on the world around me. I make my artistic style-making mosaics from photographs-to develop a highly personal way to transform reality.
Mosaîque Each is made by hand using glue and spray with dozens, sometimes hundreds, of my photographs. I take a lot of pictures of the same scene and creates a new composition with the printed: I cut into small pieces and then glue together. The various levels of my compositions to add a sculptural dimension. The shadows created produce a subtle effect of three dimensions.

My work transgresses the "truth" that we think that the photographers documenting. In user pieces of reality to create a new world, I built a bridge over the gulf between what is actually the world and what I want to be. The effect thus made to re-observe the world through a mirror broken with its edges broken, I can reshape reality. Traveling feed my passion and my job and a large part of my creations, composed of over one hundred pieces, representing places around the world.
All my mozaîque is made entirely by hand without digital manipulation of photographs. I only use materials for a long life: the photos are printed on archival paper, glue is specially designed for photographs and the media has no acid.

Dorothy's gallery
24, rue keller
75011 - PARIS
Métro Bastille

Giulio Paolini The unknown Author

2007-10-07T02:58:00.000-07:00

Gallery Yvon Lambert and Nadie Goodmann between on December 14 and January 27 simultaneously with Pairs and New.

Giulio Paolini simultaneously exposes a retrospective-prospect in four places - the galleries Marian Goodman and Yvon Lambert, in Paris and New York. At Marian Goodman, Paris. Jean Paolini and joining, why not, insofar as it gathers elements to feed a step. But with this artist except standard collage is only.

But works of Jean Paolini presented at the Gallery Yvon Lambert and Nadie Goodmann between on December 14 and January 27 simultaneously in Pairs and New York expresses in particular a work on the prospect, obliteration, framing. It also exploits the square, the point and the vacuum. In the center of table convergence of the prospects is an empty place. The secrecy of work is hidden in the form, a set of mirrors and setting in abyss. Once more the meeting of the elements is expressed. While passing quickly in front of works one S very does not see many references to the painter Poussin and even less with one expression of a structuralism that criticisms a little quickly classified with the files of the history of philosophy. The work of Paolini which takes its origin in art Povéra. An erudite déconstruction which is integrated perfectly in the history of art.

Frame

2007-09-14T05:18:00.000-07:00

Interposition of the object enters the sensitized paper and the source of light

The frame is a technique which reproduces a three-dimensional object by making acted the light on a photosensitive layer. In this photographic process the light causes the blackening of the photosensitive layer, except with L place where the object rests. It results an appearance of a white image from the object on a dark fon. First frames in XIXème century when the chemists experienced the photosensitivity of the emulsions spread out over a support.

The artists ventured in this new space to see the things taking an unknown aspect until there. The members known Dada group found very interesting that this work of reproduction introduced a new technique into art.
Thorough this technique while speaking about Rayogramme: it proposed at the time the following definition:

“Photography obtained by simple interposition of the object enters the sensitized paper and the source of light. Seized at the time of a visual detachment, for periods of emotional contact, these images are oxidations of residues fixed by the light and chemistry, of the living organisms.

Developed the techniques of the frame with a great virtuosity. By modulating the light and dematerializing truly the objects. It benefitted owing to the fact that the light erases almost the objects of the image in their giving a negative form. It reverses the form of the values like Talbot. It employs the word of “painting of light” to qualify these works realized with this technique.
The list of the important artists being interested in the frame is impressive.

One finds there
who completed 200 operations with this technique. , Robert Heinecken, Sigmar Polke have jointly to also use the frame during their artistic career. This last seeks and opens of new way everywhere the forms generated by shelf are likely to be transposed on a table.

See book the photographic one at Sigmar Polke.

Cyril Anguelidis to the Dorothy's gallery

2007-07-30T04:45:00.000-07:00

Numéric painting

Formed by his wandering experiment of the urban life, Cyril Anguelidis is a plastics technician graphic designer, urban illustrator and numerical painter. He draws his inspiration in the middle of New York, Bombay or Paris in the energy of the large megalopoles. Its impressions are as many visions of a notebook of voyage in full change.

Exposition du 19 juillet au 30 Septembre 2008
Dorothy's Gallery

27 , rue Keller PARIS 11

“I think that a painter must reproduce the world which it observes, and I is registered in it. My tables thus evolve/move according to the company.”

The graphic work of Cyril Anguelidis depicts an urban world in full change where it extracts from the colors, matters, of the sloggans on the mode of “instantaneous and of the notebook of voyage.

One retains some strong images of them, successions of tack coats, phantom layers of images between graphics and painting.

Presidential: collage assembly and elections

2007-03-10T02:52:00.000-08:00

The electoral poster and assembly.

He electoral poster is not a work of art it is often a photograph accompanied by a slogan but it remains also a collage assembly. I would present some posters here having these characteristics. The interest of this page is to gather joinings assemblies of this next éléction and later election. Through these different prériodes will be able one to detect some evolutions. L posts electoral in any case takes again strength with Internet or it is well on omnipresent on the sites of the candidates.

Collage and money

2007-02-28T01:56:00.000-08:00

collage de Jan Christensen

A Norwegian artist Jan Christensen had the idea of a joining not very original makes some but expensive and conclusive. He covered a fabric with eight square meters of truths banknotes for an amount of 100.000 crowns or (12300 Euros) He gave like titrates in his table “relative value”. Well on this work exposed in a gallery (MGM Galleri in Oslo) the attention of the press retained. But also of not very scrupulous people who stole the fabric. Surely not for its artistic value but well for the composition of joining. The gallery does not say for how much the table was ensured and how much it had been sold with collectors. Ci below joining before and after the flight.

Magazine "vu" "see" and collage assembly

2007-02-25T03:05:00.000-08:00

European house of photography presents the Magazine "vu" "see" publishing in the Thirties.

From November 2, 2006 to February 25, 2007 at the European House of photography, one presents a magazine of the Thirties. Not, do not believe that the House of the photograph was transformed into living room of joining so that it is the subject of a page on this site. `To look CONSIDERING'. It is an exposure where there is there is a profusion of joinings assemblies which the amateurs will appreciate.

The recourse to the image wants to be systematic and generous, in order to better achieve its goal the image is reinforced by a provocative title or an astute assembly. The goal is to show that the image, in our company, is often stronger than the words and to attract. The receipts of the magazine considering are always in force with regard to also joining assembly.

With Alexandre Liberman in 1932 the magazine fétichise the catch of sight of manner D of retaining qu of them a fraction in S inspiring of the dadaïstes. Page-setting makes visible the intentions and under heard. The setting in scene of the images takes precedence over the text. The assembly does not prove it calls a reaction and makes function imagination and the phantasms.

On plan of the photography of report the exposure before is very conceived so that each one can look at a profusion of images, without superficiality, and enter the development of a media system by having all the elements “under the eyes”.

Commissaire : Michel Frizot, directeur de recherche au CNRS, historien de la photographie et Cédric de Veigy, enseignant chercheur en photographie et cinéma.

Kevin Yu the Nymphéas

2007-01-28T00:26:00.000-08:00

To reconcile geometrical art and lyric abstraction

What does it occur when one wants to reconcile geometrical art and lyric abstraction? What to wait of an artist who despizing borders mixes freedom with the gesture and the mathematical rigour? Can one paint while claiming himself at the same time of Pollock and Mondrian? Kevin Yu punctuates his fabrics of squares white or red and small photographs. The fabrics of its last exposure have as a title “Oils on fabric and joining 2006”. It connects the pure abstraction of painting and a certain reality of the image. It is what can make say that it connects two worlds inconcilable. By an English first name, imposed by the school, and a Chinese patronym, Yu Chen Feng says Kevin Yu, born in Taiwan in 1956, was already at the borders of two civilizations. On fabric or wood, it works in the thousand-year-old tradition of the superposition of the lacquers and the fulgurance of the gesture hundred times repeated until the perfection. Only one blow of brush and the silhouette is registered on the roller which is held at the time of the great ceremonies. The feature becomes landscape, breath and force contained. Raised in the tradition confucéenne, Kevin Yu does not escape the attraction from the Occident, it unloads in Paris in 1981 without knowing a word of French and discovers finally the masterpieces of the large Masters of which it knew only reproductions. It is grabbed by the city. It invents a work where on the filigree of a gestural painting the fragments of another world are grafted, photographic squares, windows of the future open on a reducing past where the memory dissolves in the fulgurating space of the moment.
There remains very insulated in a world where only exists painting where he distils year after year the emotions which crosses it. The contrast which it saw with the daily newspaper between Far East and France, it endeavours to integrate it in its pictorial universe, reflection of its internal conflicts in abstract fabrics by a juxtaposition of surfaces and matters where a universe is redefined. Successive layers, tumultuous sedimentations, cover the fabric in the full movement with gestural controlled by a geometry as rigorous as that of Mondrian where spaces are superimposed as in the fabrics of Cézanne whose it recognizes the influence explicitly.

Born in 1956 in Taiwan, Kevin Yu unloads in Paris without knowing a word of French, it speaks Chinese and knows a little English. This world, our world, it discovers it by the image, its place of predilection becomes Louvre where it is impregnated with all the traditional ones that it knew hitherto only by more or less good reproductions and some too rare exposures.

Kevin Yu punctuates his fabrics of squares white or red. Starting from a painting of the vacuum, it seeks the origin, creation, frangible joint; a connection between Chinese traditional painting and the modernism of the Western abstraction… of the bottom of its major blacks emerges a sky of ideas to cutting as subtle as the mountains of Guilin in against day of a raising sun. The pictorial world of Kevin Yu was always controlled by a paramount sign which moves the center of it, initially silhouette, then house. In its recent works the references to the mother and time multiply like if in its fabrics the dream of a reconciliation between here and elsewhere, the past and the present became finally reality. Kevin Yu perceives his pictorial work like a private diary, nonnarrative. He opens a new prospect with the spirit for geometry in lyricism selected for his fabrics.

Lélia Mordoch Décembre 1998

Mark Brusse Assembly and Collages (1976-2006)

2007-01-26T04:25:00.000-08:00

From January 25, 2007, the gallery presents an exposure dedicated to Mark Brusse, joining together assemblies and joinings of 1976 to our days.

From January 25, 2007, the gallery presents an exposure dedicated to Mark Brusse, joining together assemblies and joinings of 1976 to our days. This work - nourished voyages and meetings, serenity impresses, often tinted humour - testifies to a vision of the readily poetic world. Its step is with the variation and the distance which it grants saves it because it preserves it. Offering, sacrifice, dumb conversation, quiet monologue… it is here a question of presence and interior. Philippe Piguet in catalogue Answer in question, 1992. Sculpture-assembly: Since 1961, installed definitively in Paris, Mark Brusse conceives the series of the Fences, Soft Machines and Strange Fruits, assemblies of objects out of wooden of recovery and various metals found in the street, which tell the history of elements met by chance and gathered according to the imagination of the artist to live a new life together. At that time, it attends the New Realistic ones joined together around Pierre Restany like his friends Robert Filliou and… From January 25, 2007, the gallery presents an exposure dedicated to Mark Brusse, joining together assemblies and joinings of 1976 to our days. This work - nourished voyages and meetings, serenity impresses, often tinted humour - testifies to a vision of the readily poetic world. Its step is with the variation and the distance which it grants saves it because it preserves it. Offering, sacrifice, dumb conversation, quiet monologue… it is here a question of presence and interior. Philippe Piguet in catalogue Answer in question, 1992. Sculpture-assembly: Since 1961, installed definitively in Paris, Mark Brusse conceives the series of the Fences, Soft Machines and Strange Fruits, assemblies of objects out of wooden of recovery and various metals found in the street, which tell the history of elements met by chance and gathered according to the imagination of the artist to live a new life together. At that time, it attends the New Realistic ones joined together around Pierre Restany like his friends Robert Filliou and Daniel Spoerri. 1965, two years stay in New York where, influenced by the minimalist spirit of the moment, his work takes a new dimension. The purification of the forms and the colors are necessary to the evolution of its language (series Natural Wood and Floor Pieces, geometrical parts out of wooden paints or not). It joins again with the Fluxus group known for its attachment with the character event-driven and transitory of work, which leads Brusse to take part in several happenings and especially to collaborate with the musician John Cage. These artistic experiments give him the taste of the “Environment”, i.e. installations adapted to space given, (Occupation of Space, volumes out of wooden which entirely fill the interior of the rooms, thus blocking the access, Kunsthalle of Bern in 1968). After a stay in Berlin at the beginning of the Seventies, Mark Brusse returns to Paris and settles with the Hive. It creates assemblies, small or large, some on base, others suspended, consisted of the most various materials: filament, node, cord which is used as discussion thread, one could almost speak about umbilical cord. However, one finds there especially wood. The selected titles are often poetic, mysterious, sometimes ironic. It is at that time that the Dutch shoe appears in its work (Puget Sound, 1976; Knot-Thing, 1987; I cuts has nail in my Shoe, 1976). Artist pérégrin, Mark Brusse traverses the animated world of an insatiable curiosity. The sculptures carried out these ten last years are impressed of this itinérance. They make a synthesis of all that the artist met on his road during previous years. Out of wood whitewashed gross of pure white, often of large size, they make a reflexion on the world and the life seen by the artist: the time which passes that it tries to retain, the rustle of the flight of the butterfly which it solidifies forever or the white feather of which it monopolizes lightness in the transparency of glass (The White Moment, 2001; The Shape of Silence, 2003). Joining: Although joining has played an important part in its work for several years, it is during a stay in Japan in 1983, that he knows his full blooming. According to the principle of recovery which it adopted as of its arrival in Paris, Mark Brusse seeks the elements of its joinings in the street. It ensures besides: I found them in the street, I found what at the bottom existed already in me. Its interest goes on bits of paper with Japanese writings which it sometimes associates objects, vestimentary elements, in particular of the gloves. The compositions are sober; they carry the mark of the tradition Zen because Asian civilization strongly influences work.

Collage Galerie Cadenas Bellanger

2007-01-13T00:47:00.000-08:00

what glue do you use ? Collage to the Galerie Cadenas Bellanger

Exhibition of January 11 to February 10, 2007 Exposure suggested by Yves Brochard.

An exhibition proposed by Yves Borcard

"All books on Dada tells the story of Kurt Schwitters raking the streets of Hanover in search of butts and concert tickets used for his collages; The theory of basic Dada who wants that art can be made from anything equaled the basic theory punk selaon which everyone could make the art "

It is well on one of the reasons, but one would find well of them others, for which one regularly finds the term of joining in all the history of the XXème century. Cubism with aujourd' huii, while passing by dadaism, futurism, surrealism… until impossible to circumvent “the just what is that make todays' S different home so, so appealing?” of Richard Hamilton in 1956, there is some one of works impossible to circumvent and always terribly temporary by this idea of juxtaposition of images, of matters… of different sources and which, Re arranged create a new and always unexpected “situation”. In this introduction, one will surlignera the species of will have which surrounds from now on all these historical works, will have that already André Breton in “point of the day underlined” by evoking the years “which make jauniir the ends of newspapers whose very fresh ink did not contribute little to the insolence of splendid stuck papers of 1913” one will surlignera also the similarity of method in time kind “Tatlin At home” of Raoul Haussmann in 1920 and Richard Hmilton which forty years later, had established for its work of joinings a “programmmatic” kind of classification: man, woman, food, history, newspapers, cinema, instruments domestic, cars, spaces, comic strips, television, telephone, information. One will voluntarily not make distinction between joining, stuck paper, assembly, assembly. on the contrary, in its development, this project perhaps pointed other questions: which images, which porvenances, which construction? The title is not other than the first question put during an interview to one of these English artists who always worked joining: John Stezaker. The exposure on collage to the Workshop Cardenas Bellanger was built like a joining. Various people: artists, galerists, police chiefs… were invited to propose an axis and also names of artists for this project. One should thus see there various perceptions of the topicality but also techniques of what Jean clay called “this genuine explosive device” and which everywhere one murmurs great vitality today: “Yes, thirty years later I am always there with my scalpel, my pile of magazines and my tube of adhesive”.

(1) Greil Marcus "Lispstick traces" Allia Paris 1998

(2) Linder : Dream a little dream of me" Frog n° 4, Paris Automne / Hiver 2006