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.

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

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Diectory of the collage and Assembly

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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.