The art and digital collage

A new aesthetic collage with digital technology
New technologies are winning over more and more artists who are dedicated to where the art of collage or painting, drawing, sculpture, and photography. They use digital technology as a tool in the context of their artistic production. Often the use of this technology is so subtle that it is difficult to distinguish between digital and analog.
Digital allows manipulation and combinations of several techniques such as photography or video is sometimes an art lover finds it difficult to distinguish the different mediums used.
The appropriation and collage techniques that have their roots in Cubist, the dadaists and surrealists in the early twentieth century, already enjoy a long history, the digital has opened up new horizons. Thanks to digital technology, new opportunities open for artists to the art of collage and technology composites. The invisibility of fittings simulates a new reality and gives these images a very new, where the elements were not real transitions between them.

Collages and digital composite images have marked a turning focusing erasing borders. Among the artists who are increasingly using the computer to create complex is the American actor Scott Griesbach art multimedia collage.


By remaining in the art of collage and venturing into that of the image advertising. The latter is no longer a simple representation of a mark but the image carries a concept or a value. Digital technology has contributed greatly to the development of this "consumer culture" of images and art often refers to this theme.
Widely used in the advertising digital collage also calls into question the realism by making it possible realities simulated where hyper realities. The fact that we can also compose a digital image by combining realities of different art forms tends to blur the boundaries between mediums, including painting and photography. The textures are created by printing ink jet on suitable media that rival paint brush.
The elements of the process of composing, writing software, the use of software remain forms of expression that s apparentent the work of collagistes papers but who brings a signature aesthetic entirely new.

Photomontage and assembly

History and Future Directions
It was in 1910 that the German Dadaïsts Georg Grosz, John Heartfiled , , Raoul Hausmann and Hannah Hoöch have the first use of photomontage in reaction to the painting which he denounces the increasing abstraction. These photomontages are part of the will to protest and shock. This new art in 1920 is regarded as a major form of modern realism. Indeed photomontage reconciles imitation and composition.
That view dominates in the middle of Berlin Dadaist who opposes German Expressionism, which is a dominating power, reducing the figure of the artist to that of the image editor (Hausmann, Heartfield), close to the technician , against a devout vision of art and against sensible figure of the artist creator. Blend, off, poem, poster are all practices that put deconstructivist derided art and his claims. Heartfield evolve into a new kind of producer of art: the artist activist whose work is entirely driven by its function, its social purpose. At Hausmann one is in a playful space, in a consciousness that agrees to submit to the impulse visual imagination and automated. At John Heartfield, photomontage leads to a class. It articulates them pieces of a real outbreak, in order to make intelligible to that plunged into chaos in the world. It represents the removal from the point of view of the bourgeois class to the benefit of the proletariat. In the Soviet photomontage ( El Lissitzky , Alexander Rodtchenko ) is a space-perspectiviste and anti-naturalist, combining text and visual. It aims to have on the viewer the greatest possible action. The photomontage is tilted in its entirety by language: in Dadaist poem Hausmann, political slogan among Heartfield and the Soviets. At Hausmann the title does not change the meaning of the table but, as part of the collage, opens up a space to the subjectivity of each. At Heartfield slogan and it is injunction, which is extracted from speech, proverb or quote, as a piece of reality glued to the reality that piece of the picture. In Soviet there is a real sensitivity to the letters of alphabets and typography.

The collage was soon applied to photography through photomontage in the aesthetic of the fragment and shock. There are also attempting to cross painting, photography and drawing, photography and writing.

The collage is conceived as a means to penetrate the lines within a single image from reality (with Brecht: the image alone does not put enough emphasis on the World, only the introduction of extra photographic elements
The effectiveness of photomontage art is not limited by the photographic recording. The assembly is designed to make situations irreprésentables photographically. He is working to raise public awareness in the new social and political situations as well as the caricature. The gap and the detour artifice are facilitated by digital technology.
The digital photomontage operates a passage in the world of cut paper, glue and assembly manual to a World logical-mathematical that enables artists photomontage to tap into a set of images larger and accessible. The world of photomontage ignored the matter and move to a digital infinitely calculable. If the digital photography sees its documentary value compromised by the processing techniques and concealment much easier. The digital photomontage that was already in the pastiche, amalgam, the sensitive copes very well with digital.
But with the development of digital images are all, regardless of their source, something in common. Un air de famille, which is difficult to describe but helps unify the area and to provide air kinship to all images passing through the computer. This style digital is quite present in the photomontage advertising.
But photomontage remains for the artists a way to offer condensed and simultaneous situations and developing a new creativity.

The Mosaics

The origins of Mosaic with collage and metaphor for globalization
Archaeologists have found the earliest form of mosaic made of small stones black and white and sometimes red pebbles assembled by mortar. The Mosaic archaic appears to be the first form of collage assemblage. The oldest date back to Asia Minor VIII century BC. These forms does not called Mosaic at the outset. This name appears in the 1st century BC and his trademark booming, which will continue until fifth century evolving into geometric forms and figurative to decline in Italy and the West in general and later to almost disappear.

The mosaic appears rediscovered by painters like Cezanne and some impressionists from the late nineteenth century. Through their research work on the form and volumes they open up new avenues of research that will put the cubists on the agenda modern mosaic.

Artists from the beginning of a new century discernible contribution at all, and its fragments. The unit together and discontinuity heterogeneity of constituents of a work, harmony result of this activity assembly fascinates artists.

With this report at all with the mosaic fragments also has a predisposition to become metaphor. According Lucien Dällenbach explosion in the use of the mosaic coincides with the explosion of new communications and globalization. It gives an aesthetic dimension at the same time as political. There is talk of state mosaic speaking from Switzerland who form a unit despite a very different languages, customs and tradition. In terms of globalization and the Mosaics esthétise face of the world and makes it presentable. It gives a visible form in the world, it would be so beautiful that the world is a mosaic from which its success and development.

Exhibition to the centre Pompidou Jacques Villeglé

A particular approach of a street entertainment which expresses itself by the Laceration and of takeoff of posters Of September 7th, 2008 - January 5th, 2009

Jacques Villeglé is originally a painter. He studies to the art college of Rennes where he(it) gets acquainted of Raymond Hains who will follow him all the life. He works as A to he gets acquainted with the questions of town planning and public space, before studying the architecture. In 1947 he begins to harvest on the seasides fragment, twisted chains, at which he considers as sculptures.

To leave 1949 he directs his appropriatif behavior to the only torn up posters. For him, the real artist is " lacérateur unknown person ", the collection which can be made by whoever: he so announces the moment of the disappearance of the face of the artist, giving up the place(square) to the "collector" or the collector. " The taking, he says, is the parallel of the centring of the photographer ", and himself wants, as Hains, simple collector of fragments whom he is only choosing and signing. In 1958 he drafts a development on the torn up posters entitled By The collective Realities, the prefiguration of the manifesto of the New Realism considered as the historian of Torn up unknown person, entity which he creates in 1959.

The exhibition of the Centre Pompidou collects more than hundred of works of the 1940s in our days. He approaches in a thematic way the course of the artist since the typographic explosion and the big abstract compositions colored with the debuts, until the recent rhythmic juxtapositions stemming from posters of concerts.

He limits voluntarily his plastic initiative in the taking of torn up posters, then in their transfer on painting, so making exist anonymous and collective productions in the world of the art.


Jacques Villeglé is not an author of " ready-made ", even if he does not intervene (except by rare "helps") on the posters which he takes in streets for maroufler from painting. his work consists rather in letting appear from the urban chaos the beauties hidden in the thicknesses of paper torn by anonymous hands, which sometimes also wrote on posters or dirtied them.

The poster modifies according to the successive humors, its message deteriorates and mixs to those of the posters which it covered until become illegible. Fragments of lower coats(layers) appear, provoking on the surface a carrier chaos of colors and signs of affects: a new plastic language appears which converts the surface of the poster in a symbolic arena messages of which would quarrel the ascendancy.

Photography and technical material of full light.

After the second world war, in an artistic context marked by the development of the naive art or informal, number of photographers makes a commitment in a celebration of the very material. In 1956, Pierre Cordier invents the chimigramme, a technique which in full light and without enlarger, combines the physics of the paint (varnish, wax, oil) and the chemistry of the photography (revelation, fixative spray).

Eminent member of the revival of the German experimental photography according to war, Heinz Hajekhalke makes a commitment at the same time on the ways of the photographic abstraction.

Using techniques very differences as the collage(sticking) or the pictorial covering(collection) of the photographic surface, the English artist Nigel Henderson also realizes in this period some matériologiques experiments. After the series of graffiti, begun(affected) in the 1930s, Brassaï pursues its long survey(investigation) on the walls of cities.

Fascinated by the wealth of textures and structures of these taken the freshness, scaled, cracked surfaces, he devotes indefatigably to the fact that the philosopher Gaston Bachelard described glue of " musing on the material.

Digital collage, photo collage and digiscrapbooking

Digital collage and photo collage

Kurt Schwitters realized its collages with lost property train tickets, button, sheets etc. Kurt Schwitters which would have a computer would make numeric collages with images found on internet, scanned commonplace images, who would be intended to be thrown in the numeric garbage cans. Numerous more and more simple software allows to recycle these images and to realize easily digital collages.

The software of photo collage is applications which allow to realize diverse creations, from its own photos or scanned photos. The beginners and the experts, can so realize collages assembly(editing), It’s is as to make of the scrapbooking with scissors, to create greeting cards, invitations or personalized images.

Added to it there are tools of retouch photo which assures you a quality result. All these creations can be naturally protected to be sent or printed.

With their interface in color, the software of photo collage the images treat with an incredible ease. You choose to open one or several projects at the same time. Of the calendar at your choice of wishes by way of the letter, the poster, confusedly or the only image, about fifty models are pre-recorded. You adapt the weft to your project.


To incorporate its own photos becomes a children's game via a double-click in frames or a simple to slide to put down. It results from it the digiscrapbooking, new which is a digital scrapbooking Which consists in making of the digital scrapbouking and the possibilities seem multiplied tenfold with this technique. A publishing software often includes very useful functions which allow to zoomer, to re-centre(re-suit), to revolve or to add shadows. It is also possible to change the frame around every photo and to add effects of filter (vagueness, flash, grey, etc.).

To insert of the text, the cliparts and the simple geometrical forms can be the final touch to be brought to your work before protecting it in the size(format) embellish with images (BMP, JPEG, JPG, PNG, TIFF) or keep it to the state of project. Always a tab " to Print collage " allows to vary the layouts and the orientation of the page.

In a bank of datum of photos can be placed the favorite photos included then in an artistic compilation. With the software of Collage of photo, you can make big collages, or quickly and easily - with armatures of photo and the special effect of mask. And every work can be repeatedly printed. A range of available tools, including the harvest, the flick, the shade. Effects of mask of Collage of photo can improve still photos very quickly. Furthermore in texts a multitude of polices can be added to the digital paintings. Hundreds of images kinds cliptart quite give can again improve the digital assembly.

Of very good works, even can be leaders of works can be to realize with this software. Andy Warhol did not make of immortal portraits with the mechanical process of the screenprinting. But all the same attention on the uniformity of the processes which make that many assemblies will be alike by the style and the composition imposed by the technique.

The software of photo collage will realize very often also what we call in paint(painting) a crust, remain to find another word for the numerous collages photo so realized.

Assembly

The assembly became a very important aspect of the art when a more and more important number of artists questioned the idea of the work as a quite homogeneous, unified, obeying the hierarchical criteria associated with the traditional materials. It was not still evident that any material can enter by rights the artistic field and be assembled with the other one. The principle of the assembly consists of the configuration of diverse material, phenomenon which knows a progressive extension throughout the century. A step had already been exceeded this way by Kurt Schwitters who indicates in 1919 which used lost property as materials. This conception collided with Clément Greenberg's ideas who wanted a shape of "purity" of paint opposing in it to the principle of Pop Art which was going to appear after the second world war. For Robert Rauschenberg " the error it is to isolate the paint(painting), it is to classify her(it), j used(employed) materials others than the paint(painting), so that we can see things in a new way "

Appropriation, recovery, are decisive notions from the moment are developed the practices of the assembly, where confirmed the tendency assimilating the most heterogeneous materials corresponding to our urban society.

The Surrealism: the urban wastebasket and the oedipian dream. Its contents were updated to include accessories of showers, tires, television set, fragments of rusty engines and signboards of neon (on this point the assembly joins the pop). But usually these elements appear by fragments, where all the group of fragments establishes(constitutes) a fragment of common reality, in the style of the late Cubist; and so we constantly are playing by our current answers with the first quarter of this century. The experimental art on 1966 In 1950 the assembly is very appreciated by the new realists. Among others, Arman realizes garbage cans, where pile up rubbish, garbage through a window, and accumulations where are collected the functional objects of same one family, more or less worn. Through the accumulation, Arman introduces besides the dimension of the quantitative which contributes to divert(hijack) the status of the object envisaged in its peculiarity as well as the functions(offices) which are attributed(awarded) to him(her), advancing(moving), not her reduction, plastic consequences which begin working for and by themselves. The confrontation of several materials and techniques is a line of inescapable strength of the modern art connected in tendency widely investigated by the fact that have him sometimes indicated under the generic name of mixed techniques.

Of the usage of the collage in the Pop art

The standpoint on Pop art shows that theoretical work on the modern everyday life had preceded pop art. It was attached to the concept of popular of transitory, quickly forgotten, good market and bulk product of spiritual and sexy. This artistic concept was seen soon recovered by “établishment the” artistic one. The pop one was born in England at the beginning of the years 1950 pennies the influence from intellectuals and artists who became aware of the influence of the mass media and technology. This group thought of the change under influence of the Americanism of this period according to war. The groups raised the question of the widening of the means of representation about the new theories posed by the time with people like Richard Hamilton specialist in industrial design and Eduardo Poalozzi expert of the textile design
The artists of pop reacted to the modification of the visual perception caused by the media. The technical complex, mass media and mass culture constituted to some extent the program exposing the individual within the company, defining a concept artistic again.
The topics of meeting of this English artistic movement will also relate to the artistic techniques whose joining seems to be a major element. Poalozzi realized in 1947 a series of joinings starting from comic strips, of cuts of store, advertising images. The artists expressing itself with joining will be an important component of the movement. Joining as painting was also renewed with pop art. . Pop American develops this movement. Pop vigorously taken again American art the movement born in the United Kingdom. From kooning representing expressionnism S abstracts was launched in tests of joining and included/understood perfectly the intentions of the young artists Pop New-Yorkais. Robert Rauchenberg in 1953 after the gesture celebrates obliteration of a drawing of Kooning launches out in an assembly run joining. It works on the print and is also inspired by the step John Cage. Its assemblies will make the effect of a detonator on the evolution of Pop art. It knew to continue the Dada movements of Kurt Schwitters and Marcel Duchamp. Joinings of Rauchenberg want to be a confrontation of graphic elements. It shocked by a composition based on the chance (influence of John Cage) which made burst the former pictorial order. The symbols are drawn from realities distant from/to each other and combined with waste, bone, feathers. The things thus put in report/ratio are dematerialized. This style of joining is also present at at George Brecht, Marisol, Tom Wesselmann in a different style. Resurgence of the pictorialism through the Pop one The pop one makes transparent the usual one by the means of the images, makes conscious and freezes the elements of a manipulative creation. The artist reverses and denatures the relationship between the things and their form in the advertising world. The basic technique employed is photography but the artists denature it. The series of serigraphies of portrait is connected with the pictorialism which in my opinion passes by again with the posterity with the Pop one thanks to Andy Warhol and Martial Raysse. New realistic the Pop ones and collage. Gathered in France around Pierre Restany the French artists open a new way of Pop by creating the movement of new realistic. It will be characterized by a rupture between the generations. Arman one of eminent representing of this just movement of the bottles objects, masks, limp of Coke Cola. Rotella, Hains carry out takeoffs of posters. The new realistic ones with its many artists assemblers not to say collagist is a parallel demonstration of Pop Art insofar as it integrates to him also the concept of culture popular waste, technology, the mass media publicity and the original way to design the artistic object. Conclusion Pop collage With the Pop one one also attends an adaptation of the art of collage to the new media company and consumption. The pop one is an art “factualist”. The artists work with techniques of manufacture (painting collage screen prints…) who can be also mechanical. These processes apply or use things, objects which become tables and works of art, is not this step there the object of the artistic collage which abolishes the distance between art and the life. But the Pop one is especially an ironic attitude with regard of the company and a very marked direction of the reality of the facts. It put an end to the institutional reign abstract expressionnism putting a term can be temporarily with all chattering on the introspection and the interiority of art and the end also of a negative general attitude towards collage.

Picasso and art of collage

No need to introduce Picasso the most famous artist of the XXème century. One of most inventive, it admirably knew to adapt to the large currents of its century like the cubism. It invents it artistic joining in 1912 with George Braque.

In homage to Tristant Tzara theorist and poet of the movement Hobby-horse Picasso and Braque call this new technique “stuck papers”. The first work to be raised of joining was the Still life in the caned chair of Picasso.

This table emphasizes a piece of oil-cloth representing itself a cane-bottoming of chair. It exploits after fully the innovative character of this technique

After these first experiments any materials can be integrated in the fabrics of the painters cubists drink, charts to be played, subway ticket. These tables can be connected with the first artistic assemblies. This technique will have thereafter an influence in the cinema although it is not the subject of a theorization.

These first tables cubists are characterized by a research on the geometry and the forms represented: all the objects are found divided and reduced into simple geometrical forms, often of the squares. That means in fact that object is not represented such as it appears obviously, but by codes corresponding é its known reality .

In the Thirties Picasso is interested in the frames (photogramme in French) surely encouraged by Brassaï and Dora Maar. While treating and by recopying photographic plates. It reveint with the technique that frame at the beginning of the Sixties and realizes with André Villier of the assemblies of photographs and frames: it is about cutting of Picasso that Villier copies by combining them with its clean photographs. It is resulted from it 200 operations.

See Picasso Guitar

See collage Women in their toilet

Picasso widens the register of application of the principle of the papers stuck by using the newspaper. October 1912. Picasso creates a first sculpture of assembly, this “Guitar” out of paperboard, cord and wire, which it will take again during the winter 1912-1913 with sheet and wire. These principles will be taken again largely by the artists of the second part of the XXème century. Matisse at the end its life will be carried out also stuck papers.

Picasso is buried in the park of the castle of Vauvenargues in the Bouches du Rhone.

Hannah Höch 1889-1978

After studying painting at Charlottenburg Hannah Höch quickly became a famous artist practicing bonding assembly in 1919 in Berlin in Germany of the Weimar Republic. She uses scissors to select subversive in magazines its raw materials are the pieces that image. She realizes with these montages with fragments of human bodies and mechanical workings. It is remarkable by manipulating the variations of scale and the diversion of expressions. She quickly Dada movement by becoming a friend of Raoul Hausmann (founder of the Dadaist trend Berlin).

It occupies a special place in the Dadaist movement. There are two trends in his collages. The first is oriented policy. In this it is a neighbor to the work of John Heartfield. The second is oriented documentary. In his motion Dada she meets Kurt Schwitters with which it disseminates Dada movement across Europe.

Nicolas Schöeffer assembly

Nicolas Schöeffer he was a researcher curious of all new technologies.
He began to develop into a painting with basic forms. It Submits his work at the Salon d'Automne in 1937 and at the Salon des Independents.
He is also known for his invention of spatiodynamisme, that can be defined as "constructive and dynamic integration of space in the plastic work. ".
Modern technology should be used not sculptors contemporary sculptors Also sculptor of the twentieth century must utilize computer technology, electrical and electronic equipment which are used in industry. The cybernetic, is an essential part of his work, he said "awareness of the vital process that secures balance all phenomena."
By studying aspects of the work of multiple incredibly Nicolas Schöeffer have also retains his job on the assembly in its present sculptures consisting of technical objects that have artistic effects. The use of scaffolding in the company's Mill to design these sculptures are an example.
His work has been taken as an example by Maude Ligier PhD candidate in art history, University of Paris Sorbonne Paris IV at the symposium "back of the art of assembly in March 2008

Erro and the collage

Erro was born in Ólafsvík, Iceland Gu ð mundur Gu ð mundsson in 1932 his artist's first name of Ferro. Very early he meets artists, writers and critics bound to the surrealist movement: Breton but also Matta, Brauner, Masson, Max Ernst, Man Ray, Miro and Duchamp. He realizes mosaics and papers of the poems publish " Mecanismo, mécamanifeste ", " 100 mechanical poems.

The subjects of the plastic works of Err ó are inspired by images of my comic strips and in faces(figures) of despotic politicians. He also brings back the faces of the universe of Wal Disney side by side with Greek gods and madones. We see appearing with these last ones, we see appearing the German dictator Adolf Hitler together with sound of filing down of Saddam Hussein and the Chinese communist leader Mao Tsé-Toung.





Combining paint and collage, in works which join the principles of the narrative representation, Erro proceeds gladly by kaléidoscopique juxtaposition of images borrowed from the media universe, with strong political connotations.

There are sorts of laws which allow series of images to live from the moment when they found it the others to work picturalement. So I look, sometimes for a long time, for one or several documents which are going to give life to these stored images. So that the marriage between documents can finally come true, I have to feel the possibilities of a contrast or a common tension. It also happens that the agreement likes by the strength of their confrontation.
To contemplate the works of Err ó, it is as to assemble a puzzle even if are no collages.

Numerous reviews were dedicated to him. To the museum of modern art of the City of Bets and to the national gallery of the Real tennis. In 2005, the Museum of modern and contemporary art of Palma of Majorca. Mac Val to Vitry on the Seine in Val-de-Marne exposes regularly its collages.

Edward Kienholz

Edward Kienholz was born in 1927 in Fairfield, Washington State,

In 1953 he moved to Los Angeles, he founded the gallery NOW (Now Gallery), one of the first galleries of avant-garde art.

Artist conjure by Sophie Dannenmüller, PhD candidate in art history, University of Paris I then symposion art Assembly in paris March 2008


Edward Kienholz was not the only artist from Los Angeles to use the assembly as a commentary under heavy agreed policies. The side crude and popular inherent in the assembly gave birth to an idiom that works well beyond the field of fine arts.

He is one of the undisputed masters of the art of assemblage, it often creates not just objects, but tables and multi-faceted environments complete falling as much theatre as sculpture.

As a symbol of the art of this period, evokes a great religious and political controversy of the moment, the controversy that continues to divide Americans several decades later. The assembly "illegal operation 1962" also pushing hard and today that at the time, this table represents the aftermath of a bloody abortion - as were a time all abortion in the USA - and recalls the conditions unworthy, unregulated and causes of infection in which many of these acts were carried out. The legal status of most abortions made the USA has evolved through long and numerous legal battles and decisions of justices. Yet the work of Kienholz remains an indictment of practices, or rather misconduct, medical illegal and a political faction whose goals could be to reduce abortion in a state of clandestine activity.








The tables assemblages of Edward Kienholz, consisting of objects, photographs, paintings and they talk about life and death, fear of death, he worked on war, social exclusion or racial, loneliness. In his assemblages, nothing is left to chance: plastic, rags, scrap metal, rubber, wire, plaster, autos, furniture, clothing, medical instruments, tombstones… Kienholz does not, as "Junkart" as Robert Rauschenberg, these various objects for what they contain or antibeauté beauty, it incorporates these elements into a whole that is the environment, "painting" final. Nothing is transfigured, nothing is degraded.

Edward Kienholz died in 1994 at Sandport in Idaho. It was not until 1996 that the Whitney Museum in New York devotes a retrospective exhibition.