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.
samedi 15 août 2009
vendredi 14 août 2009
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.
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.
samedi 8 août 2009
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. "
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.
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.
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
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 ...).
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
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.
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
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
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
vendredi 7 août 2009
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
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
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