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.

Picasso Guitar

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

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

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

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

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

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Diectory of the collage and Assembly

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

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

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

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

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

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.