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