The art and digital collage

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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.

Christian Bonnefoi

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

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

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

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"

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

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

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.

Transfer with the transcryl "Lefranc and Bourgeois"

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

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

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

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

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

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

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 ...).

Marcel Duchamp

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

MAN RAY

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

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

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

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

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.

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

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.