Nothing amazing when photographic practice appears as a central landmark of any creation that is contemporary. She entered the workshops, dashes in mind. Polke painter a practice in the way many current artists who alternately or simultaneously, paint, draws and sometimes films. Since the early 1980s, David Hockney's work is being built on the principle of a confront between the instruments, between polaroid and pastel, between the shooting angle and the canvas (see page Eric Fischl, as thoughtful it is to demonstrate that the painting may still be enrolled in Realistic tradition, does not expose less clips in colors. Similarly, Jean-Marc Bustamante, after William Klein's assistant - he himself was Fernand Leger's student, then photographer passed to the cinema - refuses to separate things for which he had need a dark room for those who appear in the project; it also calls its latest works, playing with ambiguity as with an efficient resource. Even those for which painting remains unique or essential expression is not Less bound. After a short period abstract, Malcolm Morley underte, in the mid-1960s, paintings that are explicitly pretending to "modified" children of clicks ublicity.
Then, in 1971, one of the most remarkable photographs of the War in Viename, taken by Burrows; The other American hyperrealist artists prove without hiding the fascination that they exercise on them the mechanical image , while in Europe, in France, in particular, Herve Telemaque, Alain Jacquet and Erro Practice a more distant Saturica diversion. In the decade, in Germany, in the art of Jorg Imm endorf , for example, the external world pressure is directly noticeable. The same is seen in the 1990s French art, with the emergence of a new generation of painters. Vincent Corpet's works, Marc Desgrandchamps and Djamel Tataah do not delay to send out contemporary, exchangers, fugitive, insensible images. Those of Philippe Cognee borrows their reasons in the television, the artist photographing the screen and transforming the image obtained thanks to an original technique in Encaustic when he does not work directly on the photographic draft. Inseparable in the photographic reference, the television reference makes its appearance in the Creation field at the end of the twentieth century. Video procedures allow pictures and handling those that are broadcast daily.
No matter how different are techniques, it is symptomatic as artists as Ange Leccia, Pascal Convert or Faborice Hybert deals with them. Leccia and Cover are even working the image, assembly, the cadra, the color to emphasize what, on television, it usually goes through the front of the eyes without the viewer to have time to sketch any criticism. Hybert, outside the Biennale of Venice in 1997, change the French pavilion in a studio for animated pseudotalk show "as on TV". Others, just like Swiss Pipilotti Rist Teleast, multiply the technical effects, coloring, rhythm and plans, going to the use of an endoscopic camera to cause a salutary vision disorder. Obviously, it is not here than the first accumulations of a critical shade practice in which, far from succumbance in the fascination of the objects, the lie or the vacuity they are their own are forced to trace.
* Note: Nadeije Laneyrie day -Painting from the secrets of workshops, Rao Publishing House, 2005